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_10908257": {
"type": "attachments",
"id": "arts_10908257",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10908257",
"found": true
},
"parent": 10908254,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ShesFunnyCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440135182,
"modified": 1440135600,
"caption": "Owen Wilson and Imogen Poots in 'She's Funny That Way.' (Photo: Lions Gate Films)",
"description": null,
"title": "sn_d24_011_11",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10907419": {
"type": "attachments",
"id": "arts_10907419",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10907419",
"found": true
},
"parent": 10907338,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-400x239.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 239
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-960x573.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 573
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790.jpg",
"width": 5206,
"height": 3105
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-1180x704.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 704
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-800x477.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 477
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-1920x1145.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1145
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-1180x704.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 704
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Gianni-Schicchi-2-1-e1440104373790-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440099454,
"modified": 1440114245,
"caption": "Merola Opera Artists in a scene from Puccini's 'Gianni Schicchi' earlier this summer. The program's finale takes place this Saturday, Aug. 22.",
"description": "Merola Opera Artists in a scene from Puccini's 'Gianni Schicchi' earlier this summer.The program's finale takes place this Saturday, Aug. 22.",
"title": "Merola Opera Artists",
"credit": "Merola Opera Program",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10907685": {
"type": "attachments",
"id": "arts_10907685",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10907685",
"found": true
},
"parent": 10907683,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Regal-Cinemas-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440110530,
"modified": 1440110623,
"caption": "Regal Cinemas, owned by Regal Entertainment Group, has new admission procedures.",
"description": "Regal Cinemas, owned by Regal Entertainment Group, has new admission procedures.",
"title": "Regal Cinemas",
"credit": "Joshua Hilgart-Roy/Flickr",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10905140": {
"type": "attachments",
"id": "arts_10905140",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10905140",
"found": true
},
"parent": 10905139,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/10905139-thumb.jpg",
"width": 200,
"height": 113
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/10905139-thumb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/10905139-thumb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/10905139-thumb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/10905139-thumb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/10905139-thumb-128x113.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 113
}
},
"publishDate": 1440002703,
"modified": 1440002703,
"caption": null,
"description": null,
"title": "Thumbnail for 10905139",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10903694": {
"type": "attachments",
"id": "arts_10903694",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10903694",
"found": true
},
"parent": 10903693,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/SOC-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1439938613,
"modified": 1439938654,
"caption": "The members of N.W.A., as portrayed in 'Straight Outta Compton.' (Photo courtesy Universal)",
"description": "The members of N.W.A., as portrayed in 'Straight Outta Compton.' (Photo courtesy Universal)",
"title": "SOC",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10894542": {
"type": "attachments",
"id": "arts_10894542",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10894542",
"found": true
},
"parent": 10894539,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/NWACover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1439507935,
"modified": 1439507972,
"caption": "MC Ren (Aldis Hodge), DJ Yella (Neil Brown, Jr.), Eazy-E (Jason Mitchell), Ice Cube (O'Shea Jackson Jr.) and Dr. Dre (Corey Hawkins) form the NWA hip hop group in 'Straight Outta Compton.' (Photo: Jaimie Trueblood/Universal Pictures)",
"description": null,
"title": "NWACover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10893122": {
"type": "attachments",
"id": "arts_10893122",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10893122",
"found": true
},
"title": "DiaryCoverWeb",
"publishDate": 1439439485,
"status": "inherit",
"parent": 10892979,
"modified": 1761768794,
"caption": "Bel Powley as Minnie Goetze.",
"credit": "Sam Emerson/Sony Pictures Classics",
"altTag": "girl sits on tub edge smiling while on phone",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-400x225.jpg",
"width": 400,
"height": 225,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-1180x664.jpg",
"width": 1180,
"height": 664,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-1180x664.jpg",
"width": 1180,
"height": 664,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-960x540.jpg",
"width": 960,
"height": 540,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-32x32.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-64x64.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-96x96.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-128x128.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb-75x75.jpg",
"width": 75,
"height": 75,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/DiaryCoverWeb.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_10892530": {
"type": "attachments",
"id": "arts_10892530",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10892530",
"found": true
},
"parent": 10892281,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307.jpg",
"width": 1500,
"height": 843
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Above-the-Sea-e1439413681307-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1439413556,
"modified": 1439413635,
"caption": "Still from 'Above the Sea'",
"description": "Still from 'Above the Sea'",
"title": "Above the Sea",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10634570": {
"type": "attachments",
"id": "news_10634570",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10634570",
"found": true
},
"parent": 10633058,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-400x287.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 287
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-960x689.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 689
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer.jpg",
"width": 1920,
"height": 1377
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-1440x1033.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1033
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-800x574.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-1920x1377.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1377
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-1180x846.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 846
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/Freer-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438999463,
"modified": 1438999488,
"caption": "Costume designer Alison Freer in her closet. ",
"description": "Costume designer Alison Freer in her closet. ",
"title": "Freer",
"credit": "Courtesy Alison Freer",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10634100": {
"type": "attachments",
"id": "news_10634100",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10634100",
"found": true
},
"parent": 10633179,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-1440x960.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 960
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Ashes_Embers-GERIMA-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438971926,
"modified": 1438997429,
"caption": "A still from Haile Gerima's politically charged 1982 film \"Ashes and Embers.\"",
"description": "A still from Haile Gerima's politically charged 1982 film \"Ashes and Embers.\"",
"title": "LA REBEL Ashes_Embers GERIMA",
"credit": "UCLA Film & Television Archive",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10883555": {
"type": "attachments",
"id": "arts_10883555",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10883555",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438974708,
"modified": 1438988912,
"caption": "The cast of \"The Curse of Quon Gwon: When the Far East Mingles With the West\"",
"description": "The cast of \"The Curse of Quon Gwon: When the Far East Mingles With the West\"",
"title": "the-curse-of-quon-gwon-when-the-far-east-mingles-with-the-west",
"credit": "Courtesy of CAAM",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10882168": {
"type": "attachments",
"id": "arts_10882168",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10882168",
"found": true
},
"parent": 10882159,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/RickiWeb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438906278,
"modified": 1438906308,
"caption": "Ricky (Meryl Streep) performs at the Salt Well in a scene from \u003cem>Ricki and the Flash\u003c/em>. (Photo: Bob Vergara/TriStar Pictures)",
"description": null,
"title": "RickiWeb",
"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_10908254": {
"type": "authors",
"id": "byline_arts_10908254",
"meta": {
"override": true
},
"slug": "byline_arts_10908254",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_10907683": {
"type": "authors",
"id": "byline_arts_10907683",
"meta": {
"override": true
},
"slug": "byline_arts_10907683",
"name": "Lucy Perkins",
"isLoading": false
},
"byline_arts_10894539": {
"type": "authors",
"id": "byline_arts_10894539",
"meta": {
"override": true
},
"slug": "byline_arts_10894539",
"name": "Scott Tobias",
"isLoading": false
},
"byline_news_10633058": {
"type": "authors",
"id": "byline_news_10633058",
"meta": {
"override": true
},
"slug": "byline_news_10633058",
"name": "Peter Gilstrap",
"isLoading": false
},
"byline_arts_10882159": {
"type": "authors",
"id": "byline_arts_10882159",
"meta": {
"override": true
},
"slug": "byline_arts_10882159",
"name": "Scott Tobias",
"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"
},
"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"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"scuevas": {
"type": "authors",
"id": "2600",
"meta": {
"index": "authors_1716337520",
"id": "2600",
"found": true
},
"name": "Steven Cuevas",
"firstName": "Steven",
"lastName": "Cuevas",
"slug": "scuevas",
"email": "scuevas@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Steven is a former Los Angeles bureau chief for The California Report.\r\n\r\nHe reports on an array of issues across the Southland, from immigration and regional politics to religion, the performing arts and pop culture.\r\n\r\nPrior to joining KQED in 2012, Steven covered Inland southern California for KPCC in Pasadena. He also helped establish the first newsroom at \u003ca href=\"http://kut.org/\">KUT\u003c/a> in Austin, Texas where he was a general assignment reporter.\r\n\r\nSteven has received numerous awards for his reporting including an RTNDA Edward R. Murrow Award for investigative reporting in addition to awards from the LA Press Club, the Associated Press and the Society for Professional Journalists.\r\n\r\nSteven grew up in and around San Francisco and now lives in Pasadena just a short jog from the foot of the San Gabriel Mountains.",
"avatar": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"contributor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
}
],
"headData": {
"title": "Steven Cuevas | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/scuevas"
},
"thedolist": {
"type": "authors",
"id": "3215",
"meta": {
"index": "authors_1716337520",
"id": "3215",
"found": true
},
"name": "The Do List",
"firstName": "Do",
"lastName": "List",
"slug": "thedolist",
"email": "harold.check+dolist@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "The Do List scours the Bay Area for superb and surprising performing arts events, with an eye for local talent, new discoveries, and fun opportunities across the price spectrum. Every Friday morning at 6:23 and 8:23am on KQED Radio, you can hear Do List regulars Cy Musiker and David Wiegand discuss the upcoming week's best picks.",
"avatar": "https://secure.gravatar.com/avatar/25ef8068d096493f649195742621360d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "The Do List | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/25ef8068d096493f649195742621360d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/25ef8068d096493f649195742621360d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/thedolist"
},
"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": 12.557331
},
"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": 202
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 202
}
},
{
"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_10908254": {
"type": "posts",
"id": "arts_10908254",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10908254",
"score": null,
"sort": [
1440169230000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1440169230,
"format": "standard",
"title": "'She's Funny That Way': Old-School Comedy With An Old-School Premise",
"headTitle": "‘She’s Funny That Way’: Old-School Comedy With An Old-School Premise | KQED",
"content": "\u003cp>Midway through Peter Bogdanovich’s enjoyably giddy romantic comedy, a smitten Manhattan playwright (Will Forte) treats a pretty young woman (British actress Imogen Poots) to a lesson in ancient history, when “women were treated like chattel” but “prostitutes were sacred.” You’ll have to see the movie to learn whether the scribe knows that he’s talking to an aspiring actress who moonlights as a lady of the night. And \u003cem>She’s Funny That Way\u003c/em> is worth a look even if you flinch at the prospect of spending more time around older dudes frothing over golden-hearted hookers with middle-school vocal pitch. For one thing, the call girl in question, Izzy, is played by Poots with charm and brio marred only by a Brooklyn accent that’s cooked within an inch of its life. For another, Izzy, who goes by Glo when working, holds the narrative reins. This is her story, and though I can’t defend the worn-out concept — from call girl to movie star with help from sugar dad — she gets to tell it her way. Look and learn, Woody.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qp4gomOKJnY\u003c/p>\n\u003cp>Not that Owen Wilson’s Arnold, freshly arrived from Los Angeles to direct the playwright’s latest effort, is much more than a leerier modification of his addled screenwriter in Allen’s \u003cem>Midnight in Paris\u003c/em>. We’re supposed to find Arnold adorable even though he orders up Glo like pizza for a pre-rehearsal tryst in his hotel room while fielding calls from his family back home. Toggling naughty boy with jolly uncle, Arnold offers Glo $30,000 to follow her bliss. It seems Bogdanovich himself, \u003ca href=\"http://creativescreenwriting.com/shes-funny-that-way-peter-bogdanovich/\" target=\"_blank\" rel=\"noopener\">he says\u003c/a>, did something like this, and depending on where you stand on the jaded scale, Arnold is either an unreconstructed cad or a sincere fellow afflicted with the usual Biblical sins. Turns out he has spread his largesse around other credulous damsels — all of which comes to light when Izzy auditions for a plum role opposite Arnold’s wife Delta (the excellent Kathryn Hahn) in the play.\u003c/p>\n\u003cp>The rest is the expected romp around a glammed-up Manhattan while the plot, mirroring the play, trips over Arnold’s prior conquests and picks up a well-oiled cast of sinners and sinned-against. Notable among them are Rhys Ifans as a leading man with the hots for Delta and Jennifer Aniston, wearing someone else’s hair and pleased as punch for the opportunity to play a nasty therapist with a knack for extravagantly spilling trade secrets where she shouldn’t.\u003c/p>\n\u003cp>Following his early success with \u003cem>The Last Picture Show\u003c/em> and \u003cem>What’s Up, Doc?\u003c/em>, Bogdanovitch has lurched through the very definition of a checkered career as an actor, Hollywood author and director, some of whose flops have matured into cult movies or critical darlings. Arriving almost 15 years after Bogdanovich’s unjustly ignored \u003cem>The Cat’s Meow\u003c/em>, \u003cem>She’s Funny That Way\u003c/em> is a trifle. But it’s a sweetly nostalgic trifle, especially if you’re fond of classic screwball complete with overlapping quippage delivered at breakneck speed. The dizzy script, which is none the worse for having kicked around for years, was written by Bogdanovich with his former wife Louise Stratten. A running joke about squirrels and nuts doesn’t have much traction, but it pays sweet homage to a favorite movie by the great Ernst Lubitsch. Bogdanovich has thrown in cameos for buddies and another ex, all of whom you’ll be pleased to see whether or not their presence is justified. A fond reference to \u003cem>Breakfast at Tiffany’s\u003c/em> feels similarly tossed off, but that’s part of the movie’s raffish charm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>She’s Funny That Way\u003c/em>comes across as put together with the oh-why-not abandon of a man with not much to lose and an abiding love of Golden Age comedy, whether there remains a market for it or not. What I like about the movie is its seasoned wisdom and kindness about the tragicomic asymmetry of love, or lust, or some combination of the two that, if we’re lucky, gets all of us into trouble at some point in our lives. Izzy may be an innocent who “believes in pink, and in kissing a lot,” and perhaps as a character she doesn’t add up to much more than the sum of male special pleading for the appeal of firm young flesh. But she knows how to look after herself with or without some guy decades her senior running interference, and she’s a good soul with a philosophy only a cynic could sneer at. Wherever you’re happy, she tells a hack interviewer played by Ileana Douglas, that’s your place. Like her, Bogdanovich has knocked about the world of ambition. Like her, too, he may have arrived at the conclusion that playing in his own sandbox is the tops.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 858,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705046513,
"excerpt": "Director Peter Bogdanovich returns to familiar patterns, but breathes some life into even apparent cliches.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Peter Bogdanovich returns to familiar patterns, but breathes some life into even apparent cliches.",
"title": "'She's Funny That Way': Old-School Comedy With An Old-School Premise | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'She's Funny That Way': Old-School Comedy With An Old-School Premise",
"datePublished": "2015-08-21T08:00:30-07:00",
"dateModified": "2024-01-12T00:01:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "shes-funny-that-way-old-school-comedy-with-an-old-school-premise",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=432874429&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 20 Aug 2015 17:03:46 -0400",
"nprLastModifiedDate": "Thu, 20 Aug 2015 17:03:46 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/08/20/432874429/shes-funny-that-way-old-school-comedy-with-an-old-school-premise?ft=nprml&f=432874429",
"nprStoryId": "432874429",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 20 Aug 2015 17:03:00 -0400",
"path": "/arts/10908254/shes-funny-that-way-old-school-comedy-with-an-old-school-premise",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through Peter Bogdanovich’s enjoyably giddy romantic comedy, a smitten Manhattan playwright (Will Forte) treats a pretty young woman (British actress Imogen Poots) to a lesson in ancient history, when “women were treated like chattel” but “prostitutes were sacred.” You’ll have to see the movie to learn whether the scribe knows that he’s talking to an aspiring actress who moonlights as a lady of the night. And \u003cem>She’s Funny That Way\u003c/em> is worth a look even if you flinch at the prospect of spending more time around older dudes frothing over golden-hearted hookers with middle-school vocal pitch. For one thing, the call girl in question, Izzy, is played by Poots with charm and brio marred only by a Brooklyn accent that’s cooked within an inch of its life. For another, Izzy, who goes by Glo when working, holds the narrative reins. This is her story, and though I can’t defend the worn-out concept — from call girl to movie star with help from sugar dad — she gets to tell it her way. Look and learn, Woody.\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/Qp4gomOKJnY'\n title='//www.youtube.com/embed/Qp4gomOKJnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Owen Wilson’s Arnold, freshly arrived from Los Angeles to direct the playwright’s latest effort, is much more than a leerier modification of his addled screenwriter in Allen’s \u003cem>Midnight in Paris\u003c/em>. We’re supposed to find Arnold adorable even though he orders up Glo like pizza for a pre-rehearsal tryst in his hotel room while fielding calls from his family back home. Toggling naughty boy with jolly uncle, Arnold offers Glo $30,000 to follow her bliss. It seems Bogdanovich himself, \u003ca href=\"http://creativescreenwriting.com/shes-funny-that-way-peter-bogdanovich/\" target=\"_blank\" rel=\"noopener\">he says\u003c/a>, did something like this, and depending on where you stand on the jaded scale, Arnold is either an unreconstructed cad or a sincere fellow afflicted with the usual Biblical sins. Turns out he has spread his largesse around other credulous damsels — all of which comes to light when Izzy auditions for a plum role opposite Arnold’s wife Delta (the excellent Kathryn Hahn) in the play.\u003c/p>\n\u003cp>The rest is the expected romp around a glammed-up Manhattan while the plot, mirroring the play, trips over Arnold’s prior conquests and picks up a well-oiled cast of sinners and sinned-against. Notable among them are Rhys Ifans as a leading man with the hots for Delta and Jennifer Aniston, wearing someone else’s hair and pleased as punch for the opportunity to play a nasty therapist with a knack for extravagantly spilling trade secrets where she shouldn’t.\u003c/p>\n\u003cp>Following his early success with \u003cem>The Last Picture Show\u003c/em> and \u003cem>What’s Up, Doc?\u003c/em>, Bogdanovitch has lurched through the very definition of a checkered career as an actor, Hollywood author and director, some of whose flops have matured into cult movies or critical darlings. Arriving almost 15 years after Bogdanovich’s unjustly ignored \u003cem>The Cat’s Meow\u003c/em>, \u003cem>She’s Funny That Way\u003c/em> is a trifle. But it’s a sweetly nostalgic trifle, especially if you’re fond of classic screwball complete with overlapping quippage delivered at breakneck speed. The dizzy script, which is none the worse for having kicked around for years, was written by Bogdanovich with his former wife Louise Stratten. A running joke about squirrels and nuts doesn’t have much traction, but it pays sweet homage to a favorite movie by the great Ernst Lubitsch. Bogdanovich has thrown in cameos for buddies and another ex, all of whom you’ll be pleased to see whether or not their presence is justified. A fond reference to \u003cem>Breakfast at Tiffany’s\u003c/em> feels similarly tossed off, but that’s part of the movie’s raffish charm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>She’s Funny That Way\u003c/em>comes across as put together with the oh-why-not abandon of a man with not much to lose and an abiding love of Golden Age comedy, whether there remains a market for it or not. What I like about the movie is its seasoned wisdom and kindness about the tragicomic asymmetry of love, or lust, or some combination of the two that, if we’re lucky, gets all of us into trouble at some point in our lives. Izzy may be an innocent who “believes in pink, and in kissing a lot,” and perhaps as a character she doesn’t add up to much more than the sum of male special pleading for the appeal of firm young flesh. But she knows how to look after herself with or without some guy decades her senior running interference, and she’s a good soul with a philosophy only a cynic could sneer at. Wherever you’re happy, she tells a hack interviewer played by Ileana Douglas, that’s your place. Like her, Bogdanovich has knocked about the world of ambition. Like her, too, he may have arrived at the conclusion that playing in his own sandbox is the tops.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10908254/shes-funny-that-way-old-school-comedy-with-an-old-school-premise",
"authors": [
"byline_arts_10908254"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10908257",
"label": "arts_137"
},
"arts_10907510": {
"type": "posts",
"id": "arts_10907510",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10907510",
"score": null,
"sort": [
1440122454000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1440122454,
"format": "audio",
"title": "Cy and David's Picks: The Velvet Teen, Sinatra at the Movies, and More",
"headTitle": "Cy and David’s Picks: The Velvet Teen, Sinatra at the Movies, and More | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Thursday, Aug. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">‘Eurydice.’\u003c/a>\u003c/strong> Shotgun revives Sarah Ruhl’s luminous drama of a daughter and father reunited in the land of the dead. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Jazzy Films\u003c/a>. \u003c/strong>A cinematic jazz feast for the eyes and ears, this series pairs classics like \u003cem>The Maltese Falcon\u003c/em> with music performed by local greats like drummer Antonio Sanchez. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">The Velvet Teen. \u003c/a>\u003c/strong>After a nine-year hiatus, Sonoma County’s own Judah Nagler brings his dreamy, sprawling baroque pop to stages in San Francisco and Petaluma. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra.\u003c/a> \u003c/strong>The Vogue marks the Chairman’s centenary with 11 time-capsule dramas and musicals. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Merola Opera Grand Finale.\u003c/a>\u003c/strong> Hear a star being born at this conclusion of the annual Merola Opera Program, a boot camp for young mezzos and basses. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 198,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705046517,
"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"title": "Cy and David's Picks: The Velvet Teen, Sinatra at the Movies, and More | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: The Velvet Teen, Sinatra at the Movies, and More",
"datePublished": "2015-08-20T19:00:54-07:00",
"dateModified": "2024-01-12T00:01:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-the-velvet-teen-sinatra-at-the-movies-and-more",
"status": "publish",
"audioUrl": "https://soundcloud.com/kqed/baroque-rock",
"sticky": false,
"path": "/arts/10907510/cy-and-davids-picks-the-velvet-teen-sinatra-at-the-movies-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Thursday, Aug. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">‘Eurydice.’\u003c/a>\u003c/strong> Shotgun revives Sarah Ruhl’s luminous drama of a daughter and father reunited in the land of the dead. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Jazzy Films\u003c/a>. \u003c/strong>A cinematic jazz feast for the eyes and ears, this series pairs classics like \u003cem>The Maltese Falcon\u003c/em> with music performed by local greats like drummer Antonio Sanchez. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">The Velvet Teen. \u003c/a>\u003c/strong>After a nine-year hiatus, Sonoma County’s own Judah Nagler brings his dreamy, sprawling baroque pop to stages in San Francisco and Petaluma. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra.\u003c/a> \u003c/strong>The Vogue marks the Chairman’s centenary with 11 time-capsule dramas and musicals. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Merola Opera Grand Finale.\u003c/a>\u003c/strong> Hear a star being born at this conclusion of the annual Merola Opera Program, a boot camp for young mezzos and basses. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Details 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>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10907510/cy-and-davids-picks-the-velvet-teen-sinatra-at-the-movies-and-more",
"authors": [
"3215"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69",
"arts_967"
],
"tags": [
"arts_596",
"arts_626"
],
"featImg": "arts_10907419",
"label": "arts_140"
},
"arts_10907683": {
"type": "posts",
"id": "arts_10907683",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10907683",
"score": null,
"sort": [
1440110670000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1440110670,
"format": "standard",
"title": "Catching A Movie? Regal Cinemas May Be Checking Your Bag",
"headTitle": "Catching A Movie? Regal Cinemas May Be Checking Your Bag | KQED",
"content": "\u003cp>The movie theater chain Regal Cinemas, which is run by Regal Entertainment Group, has announced that it is checking the bags of theatergoers.\u003c/p>\n\u003cp>In its \u003ca href=\"http://www.regmovies.com/Theatres/Admittance-Procedures\" target=\"_blank\" rel=\"noopener\">admittance procedures online\u003c/a>, Regal says that any bag or backpack is subject to inspection:\u003c/p>\n\u003cblockquote>\n\u003cp>“Security issues have become a daily part of our lives in America. Regal Entertainment Group wants our customers and staff to feel comfortable and safe when visiting or working in our theatres. … We acknowledge that this procedure can cause some inconvenience and that it is not without flaws, but hope these are minor in comparison to increased safety.”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Andrew Limbong tells our Newscast unit that the change comes after two unrelated security incidents this summer in movie theaters in \u003ca href=\"npr.org/sections/thetwo-way/2015/07/24/425901057/two-teachers-hailed-as-heroes-in-louisiana-shooting?live=1\">Lafayette, La.\u003c/a>, and \u003ca href=\"npr.org/sections/thetwo-way/2015/08/05/429776299/attack-at-tennessee-movie-theater-leaves-three-injured-one-suspect-dead?live=1\" target=\"_blank\" rel=\"noopener\">Antioch, Tenn.\u003c/a>:\u003c/p>\n\u003cp>“There was a screening of \u003cem>Trainwreck\u003c/em> back in July where a man shot and killed two people before killing himself. And another incident earlier this month in Tennessee where a man attacked people in a theater with an ax and pepper spray.”\u003c/p>\n\u003cp>Regal, which says it owns more than 560 theaters across the U.S., notes that the new policy isn’t perfect. Its website states, “We acknowledge that this procedure can cause some inconvenience and that it is not without flaws, but hope these are minor in comparison to increased safety.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Catching+A+Movie%3F+Regal+Cinemas+May+Be+Checking+Your+Bag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 239,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705046518,
"excerpt": "Regal Entertainment Group says its new security policy is intended to help customers and staff to \"feel comfortable and safe\" when in its theaters.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Regal Entertainment Group says its new security policy is intended to help customers and staff to "feel comfortable and safe" when in its theaters.",
"title": "Catching A Movie? Regal Cinemas May Be Checking Your Bag | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Catching A Movie? Regal Cinemas May Be Checking Your Bag",
"datePublished": "2015-08-20T15:44:30-07:00",
"dateModified": "2024-01-12T00:01:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "catching-a-movie-regal-cinemas-may-be-checking-your-bag",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=432943635&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Lucy Perkins",
"nprStoryDate": "Thu, 20 Aug 2015 14:54:00 -0400",
"nprLastModifiedDate": "Thu, 20 Aug 2015 15:59:21 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/08/20/432943635/catching-a-movie-regal-cinemas-may-be-checking-your-bag?ft=nprml&f=432943635",
"nprStoryId": "432943635",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 20 Aug 2015 15:59:00 -0400",
"path": "/arts/10907683/catching-a-movie-regal-cinemas-may-be-checking-your-bag",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movie theater chain Regal Cinemas, which is run by Regal Entertainment Group, has announced that it is checking the bags of theatergoers.\u003c/p>\n\u003cp>In its \u003ca href=\"http://www.regmovies.com/Theatres/Admittance-Procedures\" target=\"_blank\" rel=\"noopener\">admittance procedures online\u003c/a>, Regal says that any bag or backpack is subject to inspection:\u003c/p>\n\u003cblockquote>\n\u003cp>“Security issues have become a daily part of our lives in America. Regal Entertainment Group wants our customers and staff to feel comfortable and safe when visiting or working in our theatres. … We acknowledge that this procedure can cause some inconvenience and that it is not without flaws, but hope these are minor in comparison to increased safety.”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Andrew Limbong tells our Newscast unit that the change comes after two unrelated security incidents this summer in movie theaters in \u003ca href=\"npr.org/sections/thetwo-way/2015/07/24/425901057/two-teachers-hailed-as-heroes-in-louisiana-shooting?live=1\">Lafayette, La.\u003c/a>, and \u003ca href=\"npr.org/sections/thetwo-way/2015/08/05/429776299/attack-at-tennessee-movie-theater-leaves-three-injured-one-suspect-dead?live=1\" target=\"_blank\" rel=\"noopener\">Antioch, Tenn.\u003c/a>:\u003c/p>\n\u003cp>“There was a screening of \u003cem>Trainwreck\u003c/em> back in July where a man shot and killed two people before killing himself. And another incident earlier this month in Tennessee where a man attacked people in a theater with an ax and pepper spray.”\u003c/p>\n\u003cp>Regal, which says it owns more than 560 theaters across the U.S., notes that the new policy isn’t perfect. Its website states, “We acknowledge that this procedure can cause some inconvenience and that it is not without flaws, but hope these are minor in comparison to increased safety.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Catching+A+Movie%3F+Regal+Cinemas+May+Be+Checking+Your+Bag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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/10907683/catching-a-movie-regal-cinemas-may-be-checking-your-bag",
"authors": [
"byline_arts_10907683"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10907685",
"label": "arts_137"
},
"arts_10905139": {
"type": "posts",
"id": "arts_10905139",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10905139",
"score": null,
"sort": [
1439977286000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1439977286,
"format": "standard",
"title": "Moral Dilemmas: ‘Late Spring’ Explores Last Days of Gaddafi’s Libya",
"headTitle": "Moral Dilemmas: ‘Late Spring’ Explores Last Days of Gaddafi’s Libya | 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>During the Libyan Revolution of 2011, a petty clerk at a police station must choose sides when a tortured prisoner asks him for help.\u003cbr>\nA short film by Zachary Kerschberg. Made at NYU.\u003c/p>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=3m-cJkR2Z2g?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/19/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/19/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya/\" target=\"_blank\" title=\"Moral Dilemmas: ‘Late Spring’ Explores Last Days of Gaddafi’s Libya\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 87,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705046539,
"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>During the Libyan Revolution of 2011, a petty clerk at a police station must choose sides when a tortured prisoner asks him for help.\u003cbr>\nA short film by Zachary Kerschberg. Made at NYU.\u003c/p>\n\u003cspan>[youtube http://www.youtube.com/watch?v=3m-cJkR2Z2g?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/19/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya/\" 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!\nDuring the Libyan Revolution of 2011, a petty clerk at a police station must choose sides when a tortured prisoner asks him for help.\nA short film by Zachary Kerschberg. Made at NYU.\n ...read more",
"title": "Moral Dilemmas: ‘Late Spring’ Explores Last Days of Gaddafi’s Libya | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Moral Dilemmas: ‘Late Spring’ Explores Last Days of Gaddafi’s Libya",
"datePublished": "2015-08-19T02:41:26-07:00",
"dateModified": "2024-01-12T00:02:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya",
"status": "publish",
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2015/08/19/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya/",
"sticky": false,
"path": "/arts/10905139/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya",
"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>During the Libyan Revolution of 2011, a petty clerk at a police station must choose sides when a tortured prisoner asks him for help.\u003cbr>\nA short film by Zachary Kerschberg. Made at NYU.\u003c/p>\n\u003cp>\u003cspan>\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/3m-cJkR2Z2g?version=3'\n title='//www.youtube.com/embed/3m-cJkR2Z2g?version=3'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/19/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/19/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya/\" target=\"_blank\" title=\"Moral Dilemmas: ‘Late Spring’ Explores Last Days of Gaddafi’s Libya\" 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/10905139/moral-dilemmas-late-spring-explores-last-days-of-gaddafis-libya",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"featImg": "arts_10905140",
"label": "arts"
},
"arts_10903693": {
"type": "posts",
"id": "arts_10903693",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10903693",
"score": null,
"sort": [
1439938875000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1439938875,
"format": "standard",
"title": "'Straight Outta Compton' is a Commercial for Dr. Dre",
"headTitle": "‘Straight Outta Compton’ is a Commercial for Dr. Dre | KQED",
"content": "\u003cp>After watching \u003cem>Straight Outta Compton\u003c/em>, you might have left the movie theater thinking Dr. Dre was a pretty great guy. And why not — after all, during the end credits, instead of a standard where-are-they-now montage of all five members of N.W.A., the only one we hear about is Dre, with testimonials from Kendrick Lamar, Eminem and others touting his greatness in hip-hop production and his business savvy in \u003ca href=\"http://www.nydailynews.com/entertainment/dr-dre-sells-beats-apple-3-billion-article-1.1808975\" target=\"_blank\" rel=\"noopener\">selling Beats by Dre to Apple for $3 billion\u003c/a>.\u003c/p>\n\u003cp>Leaving the theater, this seemed off to me, and while walking home, I recounted the other ways the movie painted Dre — a \u003cem>Forbes\u003c/em>-listed corporate mogul with a $700 million personal brand to protect — in an unusually positive moral light: his noble stance in leaving Suge Knight, royalties be damned; his repeated promises to do right by his child to his mother; his tearful breakdown and self-guilt at his brother’s death; his equally emotive farewell to Eazy-E.\u003c/p>\n\u003cp>All of this fawning depiction is overcompensation, I thought to myself, since the \u003ca href=\"http://www.rollingstone.com/music/news/beating-up-the-charts-19910808\" target=\"_blank\" rel=\"noopener\">very well-known incident of Dr. Dre repeatedly slamming a female journalist’s head against the wall and then throwing her body to the ground and kicking her ribs\u003c/a> was conspicuously nowhere to be found in the film.\u003c/p>\n\u003cp>Today, that journalist, Dee Barnes, has spoken up on \u003cem>Straight Outta Compton\u003c/em> in a post for Gawker titled ‘\u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up\u003c/a>.’ You can and should read her entire post \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, which includes a chilling description of the assault:\u003c/p>\n\u003cblockquote>\u003cp>…when Dre was trying to choke me on the floor of the women’s room in Po Na Na Souk, a thought flashed through my head: “Oh my god. He’s trying to kill me.” He had me trapped in that bathroom; he held the door closed with his leg. It was surreal. “Is this happening?” I thought.\u003c/p>\u003c/blockquote>\n\u003cp>Barnes goes on to explain why she’s glad the assault wasn’t depicted on-screen:\u003c/p>\n\u003cblockquote>\u003cp>That event isn’t depicted in \u003cem>Straight Outta Compton\u003c/em>, but I don’t think it should have been, either. The truth is too ugly for a general audience. I didn’t want to see a depiction of me getting beat up, just like I didn’t want to see a depiction of Dre beating up Michel’le, his one-time girlfriend who \u003ca href=\"http://jezebel.com/dr-dres-ex-has-an-idea-why-his-abusive-past-didnt-make-1724644896\" target=\"_blank\" rel=\"noopener\">recently summed up their relationship this way\u003c/a>: “I was just a quiet girlfriend who got beat on and told to sit down and shut up.”\u003c/p>\n\u003cp>But what should have been addressed is that it occurred. \u003c/p>\u003c/blockquote>\n\u003cp>Dre’s attack on Barnes came after an interview segment aired on \u003cem>Pump it Up\u003c/em>, the show Barnes hosted, which was edited to include inflammatory comments by Ice Cube to the remaining members of N.W.A. Barnes has long explained that she had nothing to do with the editing, but today, she goes on to reveal that a certain key player was involved:\u003c/p>\n\u003cblockquote>\u003cp>I was a pawn in the game. I was in it, but so was a true opportunist: the director of \u003cem>Straight Outta Compton\u003c/em>, F. Gary Gray.\u003c/p>\n\u003cp>That’s right. F. Gary Gray, the man whose film made $60 million last weekend as it erased my attack from history, was also behind the camera to film the moment that launched that very attack. He was my cameraman for \u003cem>Pump It Up\u003c/em>! You may have noticed that Gary has been reluctant to address N.W.A.’s misogyny and Dre’s attack on me in interviews. I think a huge reason that Gary doesn’t want to address it is because then he’d have to explain his part in history. He’s obviously uncomfortable for a reason.\n\u003c/p>\u003c/blockquote>\n\u003cp>There you have it: F. Gary Gray was Dee Barnes’ cameraman for the interview that incited Dr. Dre to violently attack an innocent woman, and F. Gary Gray is the director of the film that eliminates this incident from the story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beats by Dre are \u003ca href=\"https://www.youtube.com/watch?v=ZsxQxS0AdBY\" target=\"_blank\" rel=\"noopener\">notoriously terrible headphones\u003c/a>. Dre’s son didn’t meet his father \u003ca href=\"http://nextshark.com/dr-dre-son-curtis-young/\" target=\"_blank\" rel=\"noopener\">until he was 20 years old\u003c/a>. Dre’s production on \u003cem>Straight Outta Compton\u003c/em> was composed from \u003ca href=\"http://www.whosampled.com/N.W.A/\" target=\"_blank\" rel=\"noopener\">the most common, unoriginal breaks in hip-hop\u003c/a>. And Dr. Dre, a producer on the film along with F. Gary Gray, suppressed any mention in the movie of his assault on Dee Barnes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Staright Outta Compton’ is a commercial for Dr. Dre.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 782,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705046542,
"excerpt": "Dee Barnes comes forward about Dr. Dre's violent assault and its omission from 'Straight Outta Compton,' a film with an overly fawning view of Dre's moral compass.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dee Barnes comes forward about Dr. Dre's violent assault and its omission from 'Straight Outta Compton,' a film with an overly fawning view of Dre's moral compass.",
"title": "'Straight Outta Compton' is a Commercial for Dr. Dre | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Straight Outta Compton' is a Commercial for Dr. Dre",
"datePublished": "2015-08-18T16:01:15-07:00",
"dateModified": "2024-01-12T00:02:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "straight-outta-compton-is-officially-a-commercial-for-dr-dre",
"status": "publish",
"sticky": false,
"path": "/arts/10903693/straight-outta-compton-is-officially-a-commercial-for-dr-dre",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching \u003cem>Straight Outta Compton\u003c/em>, you might have left the movie theater thinking Dr. Dre was a pretty great guy. And why not — after all, during the end credits, instead of a standard where-are-they-now montage of all five members of N.W.A., the only one we hear about is Dre, with testimonials from Kendrick Lamar, Eminem and others touting his greatness in hip-hop production and his business savvy in \u003ca href=\"http://www.nydailynews.com/entertainment/dr-dre-sells-beats-apple-3-billion-article-1.1808975\" target=\"_blank\" rel=\"noopener\">selling Beats by Dre to Apple for $3 billion\u003c/a>.\u003c/p>\n\u003cp>Leaving the theater, this seemed off to me, and while walking home, I recounted the other ways the movie painted Dre — a \u003cem>Forbes\u003c/em>-listed corporate mogul with a $700 million personal brand to protect — in an unusually positive moral light: his noble stance in leaving Suge Knight, royalties be damned; his repeated promises to do right by his child to his mother; his tearful breakdown and self-guilt at his brother’s death; his equally emotive farewell to Eazy-E.\u003c/p>\n\u003cp>All of this fawning depiction is overcompensation, I thought to myself, since the \u003ca href=\"http://www.rollingstone.com/music/news/beating-up-the-charts-19910808\" target=\"_blank\" rel=\"noopener\">very well-known incident of Dr. Dre repeatedly slamming a female journalist’s head against the wall and then throwing her body to the ground and kicking her ribs\u003c/a> was conspicuously nowhere to be found in the film.\u003c/p>\n\u003cp>Today, that journalist, Dee Barnes, has spoken up on \u003cem>Straight Outta Compton\u003c/em> in a post for Gawker titled ‘\u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up\u003c/a>.’ You can and should read her entire post \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, which includes a chilling description of the assault:\u003c/p>\n\u003cblockquote>\u003cp>…when Dre was trying to choke me on the floor of the women’s room in Po Na Na Souk, a thought flashed through my head: “Oh my god. He’s trying to kill me.” He had me trapped in that bathroom; he held the door closed with his leg. It was surreal. “Is this happening?” I thought.\u003c/p>\u003c/blockquote>\n\u003cp>Barnes goes on to explain why she’s glad the assault wasn’t depicted on-screen:\u003c/p>\n\u003cblockquote>\u003cp>That event isn’t depicted in \u003cem>Straight Outta Compton\u003c/em>, but I don’t think it should have been, either. The truth is too ugly for a general audience. I didn’t want to see a depiction of me getting beat up, just like I didn’t want to see a depiction of Dre beating up Michel’le, his one-time girlfriend who \u003ca href=\"http://jezebel.com/dr-dres-ex-has-an-idea-why-his-abusive-past-didnt-make-1724644896\" target=\"_blank\" rel=\"noopener\">recently summed up their relationship this way\u003c/a>: “I was just a quiet girlfriend who got beat on and told to sit down and shut up.”\u003c/p>\n\u003cp>But what should have been addressed is that it occurred. \u003c/p>\u003c/blockquote>\n\u003cp>Dre’s attack on Barnes came after an interview segment aired on \u003cem>Pump it Up\u003c/em>, the show Barnes hosted, which was edited to include inflammatory comments by Ice Cube to the remaining members of N.W.A. Barnes has long explained that she had nothing to do with the editing, but today, she goes on to reveal that a certain key player was involved:\u003c/p>\n\u003cblockquote>\u003cp>I was a pawn in the game. I was in it, but so was a true opportunist: the director of \u003cem>Straight Outta Compton\u003c/em>, F. Gary Gray.\u003c/p>\n\u003cp>That’s right. F. Gary Gray, the man whose film made $60 million last weekend as it erased my attack from history, was also behind the camera to film the moment that launched that very attack. He was my cameraman for \u003cem>Pump It Up\u003c/em>! You may have noticed that Gary has been reluctant to address N.W.A.’s misogyny and Dre’s attack on me in interviews. I think a huge reason that Gary doesn’t want to address it is because then he’d have to explain his part in history. He’s obviously uncomfortable for a reason.\n\u003c/p>\u003c/blockquote>\n\u003cp>There you have it: F. Gary Gray was Dee Barnes’ cameraman for the interview that incited Dr. Dre to violently attack an innocent woman, and F. Gary Gray is the director of the film that eliminates this incident from the story.\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>Beats by Dre are \u003ca href=\"https://www.youtube.com/watch?v=ZsxQxS0AdBY\" target=\"_blank\" rel=\"noopener\">notoriously terrible headphones\u003c/a>. Dre’s son didn’t meet his father \u003ca href=\"http://nextshark.com/dr-dre-son-curtis-young/\" target=\"_blank\" rel=\"noopener\">until he was 20 years old\u003c/a>. Dre’s production on \u003cem>Straight Outta Compton\u003c/em> was composed from \u003ca href=\"http://www.whosampled.com/N.W.A/\" target=\"_blank\" rel=\"noopener\">the most common, unoriginal breaks in hip-hop\u003c/a>. And Dr. Dre, a producer on the film along with F. Gary Gray, suppressed any mention in the movie of his assault on Dee Barnes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Staright Outta Compton’ is a commercial for Dr. Dre.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10903693/straight-outta-compton-is-officially-a-commercial-for-dr-dre",
"authors": [
"185"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10903694",
"label": "arts"
},
"arts_10894539": {
"type": "posts",
"id": "arts_10894539",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10894539",
"score": null,
"sort": [
1439560811000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1439560811,
"format": "standard",
"title": "In 'Straight Outta Compton,' Hip-Hop Legends Get The Biopic Treatment",
"headTitle": "In ‘Straight Outta Compton,’ Hip-Hop Legends Get The Biopic Treatment | KQED",
"content": "\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. They can renegotiate later.\u003c/p>\n\u003cp>Named after N.W.A.’s breakthrough album, the sprawling \u003cem>Straight Outta Compton\u003c/em> is about many things: A watershed moment in music history, past and present racial tensions connecting Rodney King’s L.A. to Michael Brown’s Ferguson, the power of “reality rap” to tell uncomfortable truths and incite controversy. But above all, the film celebrates the All-American values of hard work and entrepreneurship. It pays tribute to black artists who made \u003cem>themselves\u003c/em> legit, years after millions of album sales and sold-out arena shows failed to bring them real control of their careers. How do we know they’re legit now? Dr. Dre and Ice Cube produced this major-studio movie as a monument to their achievements.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-F5WcFPDzko\u003c/p>\n\u003cp>There’s no getting around the self-mythologizing aspect of a biopic produced by its subjects and the way it papers over less heroic facts about these men, like \u003ca href=\"http://gawker.com/remember-when-dr-dre-bashed-a-female-journalists-face-1721368450\">Dre’s assault on journalist Dee Barnes\u003c/a>. It would not be that cynical to call \u003cem>Straight Outta Compton\u003c/em> an act of brand extension or a gauche attempt by hip-hop royalty to shape their cultural legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director F. Gary Gray, whose ties to Ice Cube go back to their 1995 comedy hit \u003cem>Friday\u003c/em>, starts with Eazy (Jason Mitchell) running drugs in Compton before taking his experience and business acumen into a more legitimate field. Looking for money to realize their musical ambitions, Dre (Corey Hawkins), a virtuosic club DJ, and Ice Cube (O’Shea Jackson, Jr., Cube’s real-life son), a ferocious lyricist and rapper, turn to Eazy for funding and get more than they bargained for. Along with two other members, MC Ren (Aldis Hodge) and DJ Yella (Neil Brown, Jr.), they find some success in launching the Ruthless Records label, but it isn’t until Eazy strikes a deal with Heller that N.W.A. can get the distribution and promotion necessary to propel them to crossover superstardom.\u003c/p>\n\u003cp>The recording of the \u003cem>Straight Outta Compton\u003c/em> album and the cross-country bacchanal that followed is by far the strongest section of the film. Gray and his exuberant young cast seize on the joys of creative collaboration and the purity of art as an end in itself, before larger cultural forces take hold and yank them in unwelcome directions. The tour crackles with thrilling volatility, with the highs of live shows and hotel-room orgies checked by the lows of media scolds and First Amendment conflicts over the rage-filled anthem “F–k The Police.” Even when they’re tossed into a paddy wagon in Detroit for allegedly instigating a riot, they’re able to see it all as a grand cross-country adventure.\u003c/p>\n\u003cp>Once the group splinters off into rival factions, due mainly to Eazy and Heller’s partnership freezing the others out, \u003cem>Straight Outta Compton\u003c/em> sags a little from a formlessness which plagues most artist biopics. In two-and-a-half hours, the film dutifully ticks off the musicians’ greatest moments: The founding of Death Row Records with the pathological Suge Knight (played by cigar-chomping fury by R. Marcos Taylor), the solo successes of Cube’s \u003cem>AmeriKKKa’s Most Wanted\u003c/em> and Dre’s \u003cem>The Chronic\u003c/em>, the “eureka” moment of Dre and Snoop Dogg stumbling on the keyboard riff for “Nuthin’ But a ‘G’ Thang.” As in life, getting back to N.W.A. proves difficult for the movie to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if any film should be forgiven its excesses, it’s \u003cem>Straight Outta Compton\u003c/em>, which is about the clashes and camaraderie among men whose unruliness sparked a cultural moment that was beyond their ability — and their willingness — to contain. Their story is too big for a single movie, but Gray’s high-gloss abridgment latches on powerfully to their hard-won independence and self-actualization, suggesting that true freedom is more difficult to achieve than success. For the members of N.W.A., escaping the slums is easier than getting out of a contract.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 857,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705046565,
"excerpt": "N.W.A's hard-won battle for mainstream success is illustrated in a film produced by Dr. Dre and Ice Cube.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "N.W.A's hard-won battle for mainstream success is illustrated in a film produced by Dr. Dre and Ice Cube.",
"title": "In 'Straight Outta Compton,' Hip-Hop Legends Get The Biopic Treatment | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Straight Outta Compton,' Hip-Hop Legends Get The Biopic Treatment",
"datePublished": "2015-08-14T07:00:11-07:00",
"dateModified": "2024-01-12T00:02:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-straight-outta-compton-hip-hop-legends-get-the-biopic-treatment",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=431920458&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 13 Aug 2015 17:18:45 -0400",
"nprLastModifiedDate": "Thu, 13 Aug 2015 17:18:45 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/08/13/431920458/in-straight-outta-compton-hip-hop-legends-get-the-biopic-treatment?ft=nprml&f=431920458",
"nprStoryId": "431920458",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 13 Aug 2015 17:18:00 -0400",
"path": "/arts/10894539/in-straight-outta-compton-hip-hop-legends-get-the-biopic-treatment",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. They can renegotiate later.\u003c/p>\n\u003cp>Named after N.W.A.’s breakthrough album, the sprawling \u003cem>Straight Outta Compton\u003c/em> is about many things: A watershed moment in music history, past and present racial tensions connecting Rodney King’s L.A. to Michael Brown’s Ferguson, the power of “reality rap” to tell uncomfortable truths and incite controversy. But above all, the film celebrates the All-American values of hard work and entrepreneurship. It pays tribute to black artists who made \u003cem>themselves\u003c/em> legit, years after millions of album sales and sold-out arena shows failed to bring them real control of their careers. How do we know they’re legit now? Dr. Dre and Ice Cube produced this major-studio movie as a monument to their achievements.\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/-F5WcFPDzko'\n title='//www.youtube.com/embed/-F5WcFPDzko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s no getting around the self-mythologizing aspect of a biopic produced by its subjects and the way it papers over less heroic facts about these men, like \u003ca href=\"http://gawker.com/remember-when-dr-dre-bashed-a-female-journalists-face-1721368450\">Dre’s assault on journalist Dee Barnes\u003c/a>. It would not be that cynical to call \u003cem>Straight Outta Compton\u003c/em> an act of brand extension or a gauche attempt by hip-hop royalty to shape their cultural legacy.\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>Director F. Gary Gray, whose ties to Ice Cube go back to their 1995 comedy hit \u003cem>Friday\u003c/em>, starts with Eazy (Jason Mitchell) running drugs in Compton before taking his experience and business acumen into a more legitimate field. Looking for money to realize their musical ambitions, Dre (Corey Hawkins), a virtuosic club DJ, and Ice Cube (O’Shea Jackson, Jr., Cube’s real-life son), a ferocious lyricist and rapper, turn to Eazy for funding and get more than they bargained for. Along with two other members, MC Ren (Aldis Hodge) and DJ Yella (Neil Brown, Jr.), they find some success in launching the Ruthless Records label, but it isn’t until Eazy strikes a deal with Heller that N.W.A. can get the distribution and promotion necessary to propel them to crossover superstardom.\u003c/p>\n\u003cp>The recording of the \u003cem>Straight Outta Compton\u003c/em> album and the cross-country bacchanal that followed is by far the strongest section of the film. Gray and his exuberant young cast seize on the joys of creative collaboration and the purity of art as an end in itself, before larger cultural forces take hold and yank them in unwelcome directions. The tour crackles with thrilling volatility, with the highs of live shows and hotel-room orgies checked by the lows of media scolds and First Amendment conflicts over the rage-filled anthem “F–k The Police.” Even when they’re tossed into a paddy wagon in Detroit for allegedly instigating a riot, they’re able to see it all as a grand cross-country adventure.\u003c/p>\n\u003cp>Once the group splinters off into rival factions, due mainly to Eazy and Heller’s partnership freezing the others out, \u003cem>Straight Outta Compton\u003c/em> sags a little from a formlessness which plagues most artist biopics. In two-and-a-half hours, the film dutifully ticks off the musicians’ greatest moments: The founding of Death Row Records with the pathological Suge Knight (played by cigar-chomping fury by R. Marcos Taylor), the solo successes of Cube’s \u003cem>AmeriKKKa’s Most Wanted\u003c/em> and Dre’s \u003cem>The Chronic\u003c/em>, the “eureka” moment of Dre and Snoop Dogg stumbling on the keyboard riff for “Nuthin’ But a ‘G’ Thang.” As in life, getting back to N.W.A. proves difficult for the movie to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if any film should be forgiven its excesses, it’s \u003cem>Straight Outta Compton\u003c/em>, which is about the clashes and camaraderie among men whose unruliness sparked a cultural moment that was beyond their ability — and their willingness — to contain. Their story is too big for a single movie, but Gray’s high-gloss abridgment latches on powerfully to their hard-won independence and self-actualization, suggesting that true freedom is more difficult to achieve than success. For the members of N.W.A., escaping the slums is easier than getting out of a contract.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10894539/in-straight-outta-compton-hip-hop-legends-get-the-biopic-treatment",
"authors": [
"byline_arts_10894539"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10894542",
"label": "arts_137"
},
"arts_10892979": {
"type": "posts",
"id": "arts_10892979",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10892979",
"score": null,
"sort": [
1439503226000
]
},
"guestAuthors": [],
"slug": "diary-tells-a-coming-of-age-tale-rarely-seen-on-film",
"title": "‘Diary’ Tells a Coming-of-Age Tale Rarely Seen on Film",
"publishDate": 1439503226,
"format": "standard",
"headTitle": "‘Diary’ Tells a Coming-of-Age Tale Rarely Seen on Film | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s 1976 in San Francisco and Minnie Goetze is 15 years old, artistically inclined, full of feelings and interested in sex. She’s a fictional character. But in some ways she is every girl who ever kept a diary, felt misunderstood, worried she’d never be loved and went looking for that love in all the wrong places.\u003c/p>\n\u003cp>\u003ci>The Diary of a Teenage Girl\u003c/i>, opening tomorrow in San Francisco and starring Kristen Wiig, Alexander Skarsgård and newcomer Bel Powley, is a skillful adaptation of Phoebe Gloeckner’s semi-autobiographical \u003ca href=\"http://www.ravenblond.com/diary.html\" target=\"_blank\" rel=\"noopener\">“account in words and pictures”\u003c/a> by writer and first-time director Marielle Heller.\u003c/p>\n\u003cfigure id=\"attachment_10893123\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg\" alt=\"Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb-400x299.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics) \u003ccite>(Photo: Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I read it I was like, oh, boys must’ve felt this way when they read \u003ci>Catcher in the Rye\u003c/i>,” Heller says. Gloeckner’s story and the film begin without preamble at Minnie’s first sexual experience. It’s the start of a dramatic and tumultuous affair with Monroe (Skarsgård), her mother’s 34-year-old boyfriend and, according to Minnie, “the handsomest man in the world.”\u003c/p>\n\u003cp>The main character’s typewritten diary in Gloeckner’s book translates on screen to cassette tape audio recordings, kept hidden in a box under the teenager’s bed. Minnie’s drawings bound off her sketchbook pages thanks to the work of animator \u003ca href=\"http://saragunnarsdottir.com/\" target=\"_blank\" rel=\"noopener\">Sara Gunnarsdottir\u003c/a>, filling the movie with Aline Kominsky-esque animations of big-bottomed women and vertiginous San Francisco streets.\u003c/p>\n\u003cfigure id=\"attachment_10893121\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893121\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BelWeb.jpg\" alt=\"Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Minnie narrates the film with her vacillating emotions (she goes from “maybe I should kill myself” to “I should paint a picture” in 60 seconds flat), young-person logic (“school is essentially pointless”) and pitch-perfect humor. She cuts class, smokes weed, drops acid, goes to midnight screenings of \u003ci>The Rocky Horror Picture Show\u003c/i>, visits comic book stores and gazes out over a foggy Dolores Park, preoccupied with boys, men, love, sex and herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she is a teenage girl — the likes of which we rarely see on screen. She’s not precociously witty (see \u003cem>Juno\u003c/em>), woefully under-rendered (see Denise in \u003cem>Can’t Hardly Wait\u003c/em>) or the object of someone else’s sexual fantasy (see Nadia in \u003ci>American Pie, \u003c/i>Linda in \u003cem>Fast Times at Ridgemont High \u003c/em>or Jennifer Love Hewitt in anything, ever). “I felt this need to almost protect Minnie, to protect the genuine honesty of her voice and how true she is to herself,” Heller says. “She exists without shame, she’s really curious and she says all of the things that everyone else thinks but is too afraid to say.”\u003c/p>\n\u003cfigure id=\"attachment_10893125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Monroe.jpg\" alt=\"Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Bel Powley, who plays Minnie in the film, says Heller provides this platform. “People are too afraid to say it because people don’t make movies or write novels or anything about it, so it’s a vicious cycle,” she says. Minnie’s ability to see and speak the truth, to relate her story in text and graphic form, is her lifeline out of the darker corners in Gloeckner’s book, which include forays into prostitution, violence and heavy drug use.\u003c/p>\n\u003cp>While \u003ci>The Diary of a Teenage Girl\u003c/i> has plenty of explicit scenes, the relationship between Minnie and Monroe is less uneven than it would seem. Mostly ignored by her mother (Wiig), labeled “intense” by a male classmate and only encouraged intellectually by an estranged and mostly clueless ex-step-father (Christopher Meloni), Minnie is a loner experimenting with sex, drugs and questionable decision-making. Skarsgård’s Monroe is an emotionally stunted giant rather than the lecherous predator we might expect, but the fallout of their relationship is real and damaging.\u003c/p>\n\u003cfigure id=\"attachment_10893124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg\" alt=\"Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>In classic teenager mode, Minnie thinks she knows better than all the adults around her. And in her case, this is actually true. The film’s lessons (and I use this term loosely — because \u003ci>The Diary of a Teenage Girl\u003c/i> is no heavy-handed moralizing tale) aren’t just for the female audiences who will identify with — or simply recognize — Minnie. Personal growth is difficult. Wrangling emotions into artistic output is important. Mistakes need to be made.\u003c/p>\n\u003cp>Heller’s film won’t fill the gaping hole that exists within the coming-of-age canon. But it may alter the way its audiences expect to see teenage female characters depicted. It’s a small and welcome victory “for all the girls when they have grown,” the subject of Gloeckner’s dedication and the film’s closing line.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G2M9kqb5wVw\u003c/p>\n\n",
"blocks": [],
"excerpt": "Marielle Heller's directorial debut challenges tired depictions of teenage female sexuality.",
"status": "publish",
"parent": 0,
"modified": 1761768723,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 856
},
"headData": {
"title": "‘Diary’ Tells a Coming-of-Age Tale Rarely Seen on Film | KQED",
"description": "Marielle Heller's directorial debut challenges tired depictions of teenage female sexuality.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Diary’ Tells a Coming-of-Age Tale Rarely Seen on Film",
"datePublished": "2015-08-13T15:00:26-07:00",
"dateModified": "2025-10-29T13:12:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"sticky": false,
"nprStoryId": "kqed-10892979",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1976 in San Francisco and Minnie Goetze is 15 years old, artistically inclined, full of feelings and interested in sex. She’s a fictional character. But in some ways she is every girl who ever kept a diary, felt misunderstood, worried she’d never be loved and went looking for that love in all the wrong places.\u003c/p>\n\u003cp>\u003ci>The Diary of a Teenage Girl\u003c/i>, opening tomorrow in San Francisco and starring Kristen Wiig, Alexander Skarsgård and newcomer Bel Powley, is a skillful adaptation of Phoebe Gloeckner’s semi-autobiographical \u003ca href=\"http://www.ravenblond.com/diary.html\" target=\"_blank\" rel=\"noopener\">“account in words and pictures”\u003c/a> by writer and first-time director Marielle Heller.\u003c/p>\n\u003cfigure id=\"attachment_10893123\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg\" alt=\"Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb-400x299.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics) \u003ccite>(Photo: Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I read it I was like, oh, boys must’ve felt this way when they read \u003ci>Catcher in the Rye\u003c/i>,” Heller says. Gloeckner’s story and the film begin without preamble at Minnie’s first sexual experience. It’s the start of a dramatic and tumultuous affair with Monroe (Skarsgård), her mother’s 34-year-old boyfriend and, according to Minnie, “the handsomest man in the world.”\u003c/p>\n\u003cp>The main character’s typewritten diary in Gloeckner’s book translates on screen to cassette tape audio recordings, kept hidden in a box under the teenager’s bed. Minnie’s drawings bound off her sketchbook pages thanks to the work of animator \u003ca href=\"http://saragunnarsdottir.com/\" target=\"_blank\" rel=\"noopener\">Sara Gunnarsdottir\u003c/a>, filling the movie with Aline Kominsky-esque animations of big-bottomed women and vertiginous San Francisco streets.\u003c/p>\n\u003cfigure id=\"attachment_10893121\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893121\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BelWeb.jpg\" alt=\"Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Minnie narrates the film with her vacillating emotions (she goes from “maybe I should kill myself” to “I should paint a picture” in 60 seconds flat), young-person logic (“school is essentially pointless”) and pitch-perfect humor. She cuts class, smokes weed, drops acid, goes to midnight screenings of \u003ci>The Rocky Horror Picture Show\u003c/i>, visits comic book stores and gazes out over a foggy Dolores Park, preoccupied with boys, men, love, sex and herself.\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 other words, she is a teenage girl — the likes of which we rarely see on screen. She’s not precociously witty (see \u003cem>Juno\u003c/em>), woefully under-rendered (see Denise in \u003cem>Can’t Hardly Wait\u003c/em>) or the object of someone else’s sexual fantasy (see Nadia in \u003ci>American Pie, \u003c/i>Linda in \u003cem>Fast Times at Ridgemont High \u003c/em>or Jennifer Love Hewitt in anything, ever). “I felt this need to almost protect Minnie, to protect the genuine honesty of her voice and how true she is to herself,” Heller says. “She exists without shame, she’s really curious and she says all of the things that everyone else thinks but is too afraid to say.”\u003c/p>\n\u003cfigure id=\"attachment_10893125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Monroe.jpg\" alt=\"Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Bel Powley, who plays Minnie in the film, says Heller provides this platform. “People are too afraid to say it because people don’t make movies or write novels or anything about it, so it’s a vicious cycle,” she says. Minnie’s ability to see and speak the truth, to relate her story in text and graphic form, is her lifeline out of the darker corners in Gloeckner’s book, which include forays into prostitution, violence and heavy drug use.\u003c/p>\n\u003cp>While \u003ci>The Diary of a Teenage Girl\u003c/i> has plenty of explicit scenes, the relationship between Minnie and Monroe is less uneven than it would seem. Mostly ignored by her mother (Wiig), labeled “intense” by a male classmate and only encouraged intellectually by an estranged and mostly clueless ex-step-father (Christopher Meloni), Minnie is a loner experimenting with sex, drugs and questionable decision-making. Skarsgård’s Monroe is an emotionally stunted giant rather than the lecherous predator we might expect, but the fallout of their relationship is real and damaging.\u003c/p>\n\u003cfigure id=\"attachment_10893124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg\" alt=\"Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>In classic teenager mode, Minnie thinks she knows better than all the adults around her. And in her case, this is actually true. The film’s lessons (and I use this term loosely — because \u003ci>The Diary of a Teenage Girl\u003c/i> is no heavy-handed moralizing tale) aren’t just for the female audiences who will identify with — or simply recognize — Minnie. Personal growth is difficult. Wrangling emotions into artistic output is important. Mistakes need to be made.\u003c/p>\n\u003cp>Heller’s film won’t fill the gaping hole that exists within the coming-of-age canon. But it may alter the way its audiences expect to see teenage female characters depicted. It’s a small and welcome victory “for all the girls when they have grown,” the subject of Gloeckner’s dedication and the film’s closing line.\u003c/p>\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/G2M9kqb5wVw'\n title='//www.youtube.com/embed/G2M9kqb5wVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film",
"authors": [
"61"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10893122",
"label": "arts"
},
"arts_10892281": {
"type": "posts",
"id": "arts_10892281",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10892281",
"score": null,
"sort": [
1439413348000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1439413348,
"format": "standard",
"title": "How to Make a Film in China: Dive into ‘Above the Sea’",
"headTitle": "How to Make a Film in China: Dive into ‘Above the Sea’ | KQED",
"content": "\u003cp>Always wondered where filmmakers get their first big break? Or how that award winning film made it to the big screen? Director of \u003cem>Above the Sea\u003c/em>, \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/keola-racela/\" rel=\"noopener\">Keola Racela\u003c/a> has the answers. Watch as he discusses attending film school at Columbia University, the inciting incident that created \u003cem><a target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/above-the-sea/\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/12/how-to-make-a-film-in-china-dive-into-above-the-sea/\" 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/2015/08/12/how-to-make-a-film-in-china-dive-into-above-the-sea/\" target=\"_blank\" title=\"How to Make a Film in China: Dive into ‘Above the Sea’\" 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": 70,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705046576,
"excerpt": "Always wondered where filmmakers get their first big break? Or how that award winning film made it to the big screen? Director of 'Above the Sea', Keola Racela has the answers. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Always wondered where filmmakers get their first big break? Or how that award winning film made it to the big screen? Director of 'Above the Sea', Keola Racela has the answers. ",
"title": "How to Make a Film in China: Dive into ‘Above the Sea’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How to Make a Film in China: Dive into ‘Above the Sea’",
"datePublished": "2015-08-12T14:02:28-07:00",
"dateModified": "2024-01-12T00:02:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-to-make-a-film-in-china-dive-into-above-the-sea",
"status": "publish",
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2015/08/12/how-to-make-a-film-in-china-dive-into-above-the-sea/",
"sticky": false,
"path": "/arts/10892281/how-to-make-a-film-in-china-dive-into-above-the-sea",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Always wondered where filmmakers get their first big break? Or how that award winning film made it to the big screen? Director of \u003cem>Above the Sea\u003c/em>, \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/keola-racela/\" rel=\"noopener\">Keola Racela\u003c/a> has the answers. Watch as he discusses attending film school at Columbia University, the inciting incident that created \u003cem><a target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/above-the-sea/\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/12/how-to-make-a-film-in-china-dive-into-above-the-sea/\" 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/2015/08/12/how-to-make-a-film-in-china-dive-into-above-the-sea/\" target=\"_blank\" title=\"How to Make a Film in China: Dive into ‘Above the Sea’\" 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/10892281/how-to-make-a-film-in-china-dive-into-above-the-sea",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"featImg": "arts_10892530",
"label": "arts"
},
"news_10633058": {
"type": "posts",
"id": "news_10633058",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10633058",
"score": null,
"sort": [
1439125249000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1439125249,
"format": "standard",
"disqusTitle": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"title": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/218278187\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n",
"disqusIdentifier": "10633058 http://ww2.kqed.org/news/?p=10633058",
"disqusUrl": "https://ww2.kqed.org/news/2015/08/09/hollywood-tips-for-dressing-on-a-budget-but-maybe-as-a-taco/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1009,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1439240143,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a",
"title": "A Hollywood Costume Designer's Tips for Dressing on a Budget | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"datePublished": "2015-08-09T06:00:49-07:00",
"dateModified": "2015-08-10T13:55:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "hollywood-tips-for-dressing-on-a-budget-but-maybe-as-a-taco",
"status": "publish",
"nprByline": "Peter Gilstrap",
"path": "/news/10633058/hollywood-tips-for-dressing-on-a-budget-but-maybe-as-a-taco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/218278187&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/218278187'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10633058/hollywood-tips-for-dressing-on-a-budget-but-maybe-as-a-taco",
"authors": [
"byline_news_10633058"
],
"programs": [
"news_72"
],
"categories": [
"news_223"
],
"tags": [
"news_5396",
"news_17286"
],
"featImg": "news_10634570",
"label": "news_72"
},
"news_10633179": {
"type": "posts",
"id": "news_10633179",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10633179",
"score": null,
"sort": [
1439125221000
]
},
"guestAuthors": [],
"slug": "the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution",
"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
"publishDate": 1439125221,
"format": "standard",
"headTitle": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218278055″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The first wave of black student filmmakers at UCLA were fiercely independent artists.",
"status": "publish",
"parent": 0,
"modified": 1721150739,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 45,
"wordCount": 1458
},
"headData": {
"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution | KQED",
"description": "The first wave of black student filmmakers at UCLA were fiercely independent artists.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
"datePublished": "2015-08-09T06:00:21-07:00",
"dateModified": "2024-07-16T10:25:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"path": "/news/10633179/the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\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>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218278055″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218278055″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10633179/the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution",
"authors": [
"2600"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_6188",
"news_8"
],
"tags": [
"news_5241",
"news_17719",
"news_160",
"news_4",
"news_17286",
"news_17041"
],
"featImg": "news_10634100",
"label": "news_72"
},
"arts_10881796": {
"type": "posts",
"id": "arts_10881796",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10881796",
"score": null,
"sort": [
1438984808000
]
},
"guestAuthors": [],
"slug": "made-in-oakland-in-1916-first-asian-american-film-still-inspires",
"title": "Made in Oakland in 1916, First Asian American Film Still Inspires",
"publishDate": 1438984808,
"format": "standard",
"headTitle": "Made in Oakland in 1916, First Asian American Film Still Inspires | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218248496″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Curse of Quon Gwan’\u003c/h2>\n\u003cdiv class=\"event-desc\">A screening of the first film to be made by Chinese Americans in the U.S.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oakland Asian Cultural Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.csus.edu/ethn/faculty%20and%20staff/mark.html\" target=\"_blank\" rel=\"noopener\">Gregory Mark\u003c/a> remembers exactly when he found out about his grandmother Violet Wong’s brief silent film career. It was 1969, and she took him into the basement of the family home.\u003c/p>\n\u003cp>“And in the corner of the basement,” Mark said in a recent interview, “she pointed to a canister that had three reels of film. And she said to me, and I remember her exact words: ‘You do something about this.’”\u003c/p>\n\u003cp>The film was \u003ca href=\"https://vimeo.com/ondemand/38504/127781435\" target=\"_blank\" rel=\"noopener\">\u003cem>The Curse of Quon Gwon\u003c/em>,\u003c/a> and Violet was one of its stars. Marion, Violet’s sister-in-law and Mark’s great aunt, wrote, directed and co-starred in the film with Violet in 1916, a time when the movie business wasn’t a friendly place for women or people of color — still an issue in Hollywood today.\u003c/p>\n\u003cfigure id=\"attachment_10881879\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\" alt='A still from \"The Curse of Quon Gwon\"' width=\"259\" height=\"194\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>Mark had the three surviving reels of \u003cem>Curse\u003c/em> copied to 16mm film, and a few years later, he and some cousins watched \u003cem>Curse\u003c/em> with his grandmother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were all young men at that time period,” Mark recalled. “We teased her and said, ‘Oh grandma you’re so hot, you’re so beautiful’. And she loved every single moment of that, because we saw her as a 20-year-old woman in the film.”\u003c/p>\n\u003cp>Curse tells a melodramatic love story about two thoroughly-Americanized Chinese immigrants. It’s set mostly in Oakland, where Marion, Violet and their families lived. Mark, who teaches ethnic studies at Sacramento State, thinks the film was clearly designed to defy stereotypes common at the time about Chinese Americans, a persecuted minority in the U.S..\u003c/p>\n\u003cfigure id=\"attachment_10881880\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10881880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg\" alt='A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film \"The Curse of Quon Gwon\"' width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg 929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-473x600.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3.jpg 1260w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>“Her intention was to show the world that we were everyday people,” Mark said. “That we were not all opium fiends, the women (were not all) prostitutes. Everyone (wasn’t) a laundryman.”\u003c/p>\n\u003cp>Mark says Marion Wong tried to get distributors to put \u003cem>Curse\u003c/em> in theaters, but she was turned down. Mark thinks part of the reason was prejudice against a woman of color, but he says there was also a limited market, with just 63,000 Chinese Americans living in the U.S. at the time.\u003c/p>\n\u003cp>There was no question about \u003cem>The Curse of Quon Gwon’s\u003c/em> historic importance as the first film made in the U.S. by an Asian American, back when Mark brought it to the attention of filmmaker \u003ca href=\"http://deepfocusproductions.com/biography.php\" target=\"_blank\" rel=\"noopener\">Arthur Dong\u003c/a>. He brought the 35mm nitrate reels to the attention of the \u003ca href=\"http://www.oscars.org/film-archive\" target=\"_blank\" rel=\"noopener\">Academy Film Archive,\u003c/a> which restored the film in 2005. It was added a year later to the \u003ca href=\"http://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Film Registry\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Curse of Quon Gwon\u003c/em> has been shown a few times since then. But Mark says this screening is meant to “do something,” as Violet Wong requested, for the next generation of Wong’s descendants.\u003c/p>\n\u003cp>Mark’s daughter Alexa says people sometimes ask her how it is she speaks English so well, even though she’s a third generation American, proving that the movie’s themes seem as critical today as they did 100 years ago.\u003c/p>\n\u003cp>“There’s still the fight for feminism,” Alexa Mark said. “And this film just seems to have just everything we’re still fighting for embodied into one piece.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gregory Mark expects dozens of the filmmakers descendants to attend a public screening of the film Sunday afternoon (August 9) at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10881884\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\" alt='Screening of \"The Curse of Quon Gwon\"' width=\"960\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-777x600.jpg 777w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screening of “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\n",
"blocks": [],
"excerpt": "This Saturday, the Bay Area will be treated to showing of 'The Curse of Quon Gwon,' the first film made by an Asian American, which was shot in Oakland back in 1916. ",
"status": "publish",
"parent": 0,
"modified": 1726788410,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 709
},
"headData": {
"title": "Made in Oakland in 1916, First Asian American Film Still Inspires | KQED",
"description": "This Saturday, the Bay Area will be treated to showing of 'The Curse of Quon Gwon,' the first film made by an Asian American, which was shot in Oakland back in 1916. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Made in Oakland in 1916, First Asian American Film Still Inspires",
"datePublished": "2015-08-07T15:00:08-07:00",
"dateModified": "2024-09-19T16:26:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10881796/made-in-oakland-in-1916-first-asian-american-film-still-inspires",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218248496″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218248496″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Curse of Quon Gwan’\u003c/h2>\n\u003cdiv class=\"event-desc\">A screening of the first film to be made by Chinese Americans in the U.S.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oakland Asian Cultural Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.csus.edu/ethn/faculty%20and%20staff/mark.html\" target=\"_blank\" rel=\"noopener\">Gregory Mark\u003c/a> remembers exactly when he found out about his grandmother Violet Wong’s brief silent film career. It was 1969, and she took him into the basement of the family home.\u003c/p>\n\u003cp>“And in the corner of the basement,” Mark said in a recent interview, “she pointed to a canister that had three reels of film. And she said to me, and I remember her exact words: ‘You do something about this.’”\u003c/p>\n\u003cp>The film was \u003ca href=\"https://vimeo.com/ondemand/38504/127781435\" target=\"_blank\" rel=\"noopener\">\u003cem>The Curse of Quon Gwon\u003c/em>,\u003c/a> and Violet was one of its stars. Marion, Violet’s sister-in-law and Mark’s great aunt, wrote, directed and co-starred in the film with Violet in 1916, a time when the movie business wasn’t a friendly place for women or people of color — still an issue in Hollywood today.\u003c/p>\n\u003cfigure id=\"attachment_10881879\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\" alt='A still from \"The Curse of Quon Gwon\"' width=\"259\" height=\"194\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>Mark had the three surviving reels of \u003cem>Curse\u003c/em> copied to 16mm film, and a few years later, he and some cousins watched \u003cem>Curse\u003c/em> with his grandmother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were all young men at that time period,” Mark recalled. “We teased her and said, ‘Oh grandma you’re so hot, you’re so beautiful’. And she loved every single moment of that, because we saw her as a 20-year-old woman in the film.”\u003c/p>\n\u003cp>Curse tells a melodramatic love story about two thoroughly-Americanized Chinese immigrants. It’s set mostly in Oakland, where Marion, Violet and their families lived. Mark, who teaches ethnic studies at Sacramento State, thinks the film was clearly designed to defy stereotypes common at the time about Chinese Americans, a persecuted minority in the U.S..\u003c/p>\n\u003cfigure id=\"attachment_10881880\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10881880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg\" alt='A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film \"The Curse of Quon Gwon\"' width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg 929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-473x600.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3.jpg 1260w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>“Her intention was to show the world that we were everyday people,” Mark said. “That we were not all opium fiends, the women (were not all) prostitutes. Everyone (wasn’t) a laundryman.”\u003c/p>\n\u003cp>Mark says Marion Wong tried to get distributors to put \u003cem>Curse\u003c/em> in theaters, but she was turned down. Mark thinks part of the reason was prejudice against a woman of color, but he says there was also a limited market, with just 63,000 Chinese Americans living in the U.S. at the time.\u003c/p>\n\u003cp>There was no question about \u003cem>The Curse of Quon Gwon’s\u003c/em> historic importance as the first film made in the U.S. by an Asian American, back when Mark brought it to the attention of filmmaker \u003ca href=\"http://deepfocusproductions.com/biography.php\" target=\"_blank\" rel=\"noopener\">Arthur Dong\u003c/a>. He brought the 35mm nitrate reels to the attention of the \u003ca href=\"http://www.oscars.org/film-archive\" target=\"_blank\" rel=\"noopener\">Academy Film Archive,\u003c/a> which restored the film in 2005. It was added a year later to the \u003ca href=\"http://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Film Registry\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Curse of Quon Gwon\u003c/em> has been shown a few times since then. But Mark says this screening is meant to “do something,” as Violet Wong requested, for the next generation of Wong’s descendants.\u003c/p>\n\u003cp>Mark’s daughter Alexa says people sometimes ask her how it is she speaks English so well, even though she’s a third generation American, proving that the movie’s themes seem as critical today as they did 100 years ago.\u003c/p>\n\u003cp>“There’s still the fight for feminism,” Alexa Mark said. “And this film just seems to have just everything we’re still fighting for embodied into one piece.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gregory Mark expects dozens of the filmmakers descendants to attend a public screening of the film Sunday afternoon (August 9) at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10881884\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\" alt='Screening of \"The Curse of Quon Gwon\"' width=\"960\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-777x600.jpg 777w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screening of “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10881796/made-in-oakland-in-1916-first-asian-american-film-still-inspires",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_10883555",
"label": "arts_140"
},
"arts_10882159": {
"type": "posts",
"id": "arts_10882159",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10882159",
"score": null,
"sort": [
1438956005000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1438956005,
"format": "standard",
"title": "Meryl Streep Shines In 'Ricki And The Flash'",
"headTitle": "Meryl Streep Shines In ‘Ricki And The Flash’ | KQED",
"content": "\u003cp>For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Randazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom. They perform serviceable covers of Tom Petty and U2, and, with some reluctance, bust out the occasional song from the last few years to get the handful of under-40 people in the crowd on the dance floor. The lead guitarist has a thing for Ricki, but it mostly manifests itself as banter on stage and a casual romp on lonely nights, so long as it doesn’t get serious. Playing at The Salt Well isn’t a springboard to anything, but the last stop on the tour, a pleasant venue for a band slipping into obsolescence.\u003c/p>\n\u003cp>Written by Diablo Cody and directed by Jonathan Demme, \u003cem>Ricki and the Flash\u003c/em> could be called \u003cem>Ragged Glory\u003c/em> if Neil Young, Demme’s friend and frequent collaborator, hadn’t already taken the title for himself. In front of fossilized barflies, Ricki can get away with her black-leather wardrobe, her side braids and raccoon eyeliner, and her assortment of regrettable tattoos and tacky costume jewelry. But in the harsh light of day, she’s just an odd-looking supermarket cashier named Linda Brummell, collecting $450 a week while a supervisor half her age asks her to smile more. As played by Meryl Streep, who can now add “play guitar” to the long list of things she can do as an actress, Ricki lives every day with the consequences of a choice she made long ago. She wanted to be a Chrissie Hynde. It didn’t work out for her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8PVK6Hky2A\u003c/p>\n\u003cp>The film \u003cem>Ricki and the Flash\u003c/em> looks like poor Linda Brummell inside a multiplex still humming with superhero movies, remakes, and remakes of superhero movies, but it also possesses her abundance of personality and soul. Against the machine-tooled blockbusters of summer, Demme’s film stands out for its modesty of scale and its abiding interest in the untidy business of being human. To put it in rock terms, Demme and Cody don’t care about putting on the perfect show; they care about putting on a \u003cem>great\u003c/em> show, which can accommodate some looseness in the set.\u003c/p>\n\u003cp>Shortly after establishing the sad parameters of Ricki’s life, which currently teeters on financial bankruptcy, the film whisks her away to Indianapolis, where her grown daughter, Julie (played by Streep’s own talented child, Mamie Gummer) is reeling from a sudden divorce. Since leaving her own husband Pete (Kevin Kline) to pursue her musical ambitions, Ricki has been a woefully inconsistent presence in the lives of Julie and her two sons, Adam (Nick Westrate) and Josh (Sebastian Stan), who have long since taken to calling Pete’s current wife (Audra McDonald) their mother. She looks out of place among the snobs in Pete’s gated community and she scarcely does better with Julie and her other children, who use the opportunity to hammer her for past and present wrongs. Meanwhile, back in California, her guitarist Greg (Rick Springfield) seeks the type of deep commitment that she’s been historically reluctant to give.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash\u003c/em> doesn’t behave like an ordinary musical drama, in that it’s willing to abandon the music for the entire second act (and then some) to allow Ricki to work out the tension with her family. Their grievances with her are absolutely legitimate, as are the reasons she’s become estranged from them: poverty, geographical distance, another woman assuming her role. Typical of many Demme films, there are no villains here, just the natural conflict between fundamentally decent people whose choices have put them at odds with one another.\u003c/p>\n\u003cp>Cody’s script has the funny, feminist kick expected of the writer behind \u003cem>Juno\u003c/em> and \u003cem>Young Adult\u003c/em>, but like Charlize Theron in \u003cem>Young Adult\u003c/em>, Ricki’s attempt to cling to her rebellious past carries a devastating cost. She’s both resilient for keeping the dream alive and a sad relic of another era, and Cody and Demme present her as the hot mess she is. Streep plays Ricki as lovably oblivious, but also wry and caring when the occasion calls for it, and earnest in her desire for some sliver of redemption.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash \u003c/em>favors conventional dramatic payoffs, but at least they’re hard-won, with Ricki fighting her way through class differences, ugly family history, and humiliation to find her place. Demme’s humanity and optimism has been a hallmark of his work from \u003cem>Melvin and Howard\u003c/em> to \u003cem>Rachel Getting Married\u003c/em>. A warmth radiates through \u003cem>Ricki and the Flash \u003c/em>like a song sung true. A film that adores its characters this much is sure to be adored in kind.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 865,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705046619,
"excerpt": "Diablo Cody and Jonathan Demme offer a lovable portrait of a singer and guitarist in a better-than-average bar band.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Diablo Cody and Jonathan Demme offer a lovable portrait of a singer and guitarist in a better-than-average bar band.",
"title": "Meryl Streep Shines In 'Ricki And The Flash' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Meryl Streep Shines In 'Ricki And The Flash'",
"datePublished": "2015-08-07T07:00:05-07:00",
"dateModified": "2024-01-12T00:03:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "meryl-streep-shines-in-ricki-and-the-flash",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=429628187&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 06 Aug 2015 19:03:42 -0400",
"nprLastModifiedDate": "Thu, 06 Aug 2015 19:03:42 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/08/06/429628187/meryl-streep-shines-in-ricki-and-the-flash?ft=nprml&f=429628187",
"nprStoryId": "429628187",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 06 Aug 2015 19:03:00 -0400",
"path": "/arts/10882159/meryl-streep-shines-in-ricki-and-the-flash",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Randazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom. They perform serviceable covers of Tom Petty and U2, and, with some reluctance, bust out the occasional song from the last few years to get the handful of under-40 people in the crowd on the dance floor. The lead guitarist has a thing for Ricki, but it mostly manifests itself as banter on stage and a casual romp on lonely nights, so long as it doesn’t get serious. Playing at The Salt Well isn’t a springboard to anything, but the last stop on the tour, a pleasant venue for a band slipping into obsolescence.\u003c/p>\n\u003cp>Written by Diablo Cody and directed by Jonathan Demme, \u003cem>Ricki and the Flash\u003c/em> could be called \u003cem>Ragged Glory\u003c/em> if Neil Young, Demme’s friend and frequent collaborator, hadn’t already taken the title for himself. In front of fossilized barflies, Ricki can get away with her black-leather wardrobe, her side braids and raccoon eyeliner, and her assortment of regrettable tattoos and tacky costume jewelry. But in the harsh light of day, she’s just an odd-looking supermarket cashier named Linda Brummell, collecting $450 a week while a supervisor half her age asks her to smile more. As played by Meryl Streep, who can now add “play guitar” to the long list of things she can do as an actress, Ricki lives every day with the consequences of a choice she made long ago. She wanted to be a Chrissie Hynde. It didn’t work out for her.\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/x8PVK6Hky2A'\n title='//www.youtube.com/embed/x8PVK6Hky2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film \u003cem>Ricki and the Flash\u003c/em> looks like poor Linda Brummell inside a multiplex still humming with superhero movies, remakes, and remakes of superhero movies, but it also possesses her abundance of personality and soul. Against the machine-tooled blockbusters of summer, Demme’s film stands out for its modesty of scale and its abiding interest in the untidy business of being human. To put it in rock terms, Demme and Cody don’t care about putting on the perfect show; they care about putting on a \u003cem>great\u003c/em> show, which can accommodate some looseness in the set.\u003c/p>\n\u003cp>Shortly after establishing the sad parameters of Ricki’s life, which currently teeters on financial bankruptcy, the film whisks her away to Indianapolis, where her grown daughter, Julie (played by Streep’s own talented child, Mamie Gummer) is reeling from a sudden divorce. Since leaving her own husband Pete (Kevin Kline) to pursue her musical ambitions, Ricki has been a woefully inconsistent presence in the lives of Julie and her two sons, Adam (Nick Westrate) and Josh (Sebastian Stan), who have long since taken to calling Pete’s current wife (Audra McDonald) their mother. She looks out of place among the snobs in Pete’s gated community and she scarcely does better with Julie and her other children, who use the opportunity to hammer her for past and present wrongs. Meanwhile, back in California, her guitarist Greg (Rick Springfield) seeks the type of deep commitment that she’s been historically reluctant to give.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash\u003c/em> doesn’t behave like an ordinary musical drama, in that it’s willing to abandon the music for the entire second act (and then some) to allow Ricki to work out the tension with her family. Their grievances with her are absolutely legitimate, as are the reasons she’s become estranged from them: poverty, geographical distance, another woman assuming her role. Typical of many Demme films, there are no villains here, just the natural conflict between fundamentally decent people whose choices have put them at odds with one another.\u003c/p>\n\u003cp>Cody’s script has the funny, feminist kick expected of the writer behind \u003cem>Juno\u003c/em> and \u003cem>Young Adult\u003c/em>, but like Charlize Theron in \u003cem>Young Adult\u003c/em>, Ricki’s attempt to cling to her rebellious past carries a devastating cost. She’s both resilient for keeping the dream alive and a sad relic of another era, and Cody and Demme present her as the hot mess she is. Streep plays Ricki as lovably oblivious, but also wry and caring when the occasion calls for it, and earnest in her desire for some sliver of redemption.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash \u003c/em>favors conventional dramatic payoffs, but at least they’re hard-won, with Ricki fighting her way through class differences, ugly family history, and humiliation to find her place. Demme’s humanity and optimism has been a hallmark of his work from \u003cem>Melvin and Howard\u003c/em> to \u003cem>Rachel Getting Married\u003c/em>. A warmth radiates through \u003cem>Ricki and the Flash \u003c/em>like a song sung true. A film that adores its characters this much is sure to be adored in kind.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10882159/meryl-streep-shines-in-ricki-and-the-flash",
"authors": [
"byline_arts_10882159"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10882168",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 2412,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_10908254",
"arts_10907510",
"arts_10907683",
"arts_10905139",
"arts_10903693",
"arts_10894539",
"arts_10892979",
"arts_10892281",
"news_10633058",
"news_10633179",
"arts_10881796",
"arts_10882159"
],
"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_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_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_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_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"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_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"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_5396": {
"type": "terms",
"id": "news_5396",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "5396",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hollywood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hollywood Archives | KQED News",
"ogDescription": null
},
"ttid": 5419,
"slug": "hollywood",
"isLoading": false,
"link": "/news/tag/hollywood"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_6188": {
"type": "terms",
"id": "news_6188",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6188",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Law and Justice",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Law and Justice Archives | KQED News",
"ogDescription": null
},
"ttid": 6212,
"slug": "law-and-justice",
"isLoading": false,
"link": "/news/category/law-and-justice"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_5241": {
"type": "terms",
"id": "news_5241",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "5241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "African-American history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "African-American history Archives | KQED News",
"ogDescription": null
},
"ttid": 5263,
"slug": "african-american-history",
"isLoading": false,
"link": "/news/tag/african-american-history"
},
"news_17719": {
"type": "terms",
"id": "news_17719",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17719",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film Archives | KQED News",
"ogDescription": null
},
"ttid": 17753,
"slug": "film",
"isLoading": false,
"link": "/news/tag/film"
},
"news_160": {
"type": "terms",
"id": "news_160",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "160",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED News",
"ogDescription": null
},
"ttid": 167,
"slug": "history",
"isLoading": false,
"link": "/news/tag/history"
},
"news_4": {
"type": "terms",
"id": "news_4",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "4",
"found": true
},
"relationships": {},
"featImg": null,
"name": "los angeles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "los angeles Archives | KQED News",
"ogDescription": null
},
"ttid": 4,
"slug": "los-angeles",
"isLoading": false,
"link": "/news/tag/los-angeles"
},
"news_17041": {
"type": "terms",
"id": "news_17041",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-california-report-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-california-report-featured Archives | KQED News",
"ogDescription": null
},
"ttid": 17067,
"slug": "the-california-report-featured",
"isLoading": false,
"link": "/news/tag/the-california-report-featured"
},
"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"
}
},
"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
}
}
