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_10540359": {
"type": "attachments",
"id": "arts_10540359",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10540359",
"found": true
},
"parent": 10534800,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground.jpg",
"width": 1778,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/The-Hunting-Ground-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1428433062,
"modified": 1428433105,
"caption": "Still from \u003ci>The Hunting Ground\u003c/i>.",
"description": null,
"title": "The-Hunting-Ground",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10529242": {
"type": "attachments",
"id": "arts_10529242",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10529242",
"found": true
},
"parent": 10529115,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest.jpg",
"width": 1000,
"height": 563
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/caamfest-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1428085444,
"modified": 1428085692,
"caption": "CAAMFest 2015 at The New Parkway Theater. (Photo: Kenni Camota)",
"description": null,
"title": "caamfest",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10524959": {
"type": "attachments",
"id": "arts_10524959",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10524959",
"found": true
},
"parent": 10502934,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster.jpg",
"width": 1307,
"height": 735
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Wizard_of_oz_movie_poster-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1427958374,
"modified": 1427958596,
"caption": "A 1939 \u003ci>Wizard of Oz\u003c/i> movie poster.",
"description": null,
"title": "Wizard_of_oz_movie_poster",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10520343": {
"type": "attachments",
"id": "arts_10520343",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10520343",
"found": true
},
"parent": 10509076,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF.jpg",
"width": 800,
"height": 450
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BlackPanthersSFIFF-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1427822389,
"modified": 1427822448,
"caption": "\u003cem>The Black Panthers: Vanguard of the Revolution\u003c/em> screens with a panel of former Black Panthers at the SFIFF.",
"description": null,
"title": "BlackPanthersSFIFF",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10518063": {
"type": "attachments",
"id": "arts_10518063",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10518063",
"found": true
},
"parent": 10507350,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber.jpg",
"width": 1024,
"height": 576
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Bayou-Maharajah-by-Lily-Keber-credit-Courtesy-Lily-Keber-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1427755524,
"modified": 1427755798,
"caption": "Still from \u003ci>Bayou Maharajah\u003c/i> (Courtesy of Lily Keber)",
"description": null,
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10479831": {
"type": "attachments",
"id": "arts_10479831",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10479831",
"found": true
},
"parent": 10479829,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend.jpg",
"width": 800,
"height": 450
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/LostWeekend-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1426625674,
"modified": 1452906568,
"caption": "Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. ",
"description": "Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. ",
"title": "LostWeekend",
"credit": "Photo: Lost Weekend",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10465234": {
"type": "attachments",
"id": "arts_10465234",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10465234",
"found": true
},
"parent": 10456206,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-400x236.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 236
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-320x188.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 188
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu.jpg",
"width": 800,
"height": 471
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-768x452.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 452
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-800x471.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 471
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/Awkwafina.ShirleyYu-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1426194919,
"modified": 1426195055,
"caption": "In addition to a culinary element, this year's CAAMFest features a \u003cem>Directions in Sound\u003c/em> series featuring musical acts like Awkwafina. (Photo: Shirley Yu)",
"description": null,
"title": "Awkwafina.ShirleyYu",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10447651": {
"type": "attachments",
"id": "arts_10447651",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10447651",
"found": true
},
"parent": 10447650,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan.jpg",
"width": 800,
"height": 450
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/DeliMan-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1425668738,
"modified": 1425668769,
"caption": "Ziggy Gruber in the new documentary \u003cem>Deli Man\u003c/em>.",
"description": null,
"title": "DeliMan",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10439464": {
"type": "attachments",
"id": "arts_10439464",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10439464",
"found": true
},
"parent": 10422323,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-400x295.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 295
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-320x236.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 236
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas.jpg",
"width": 800,
"height": 590
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-768x566.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 566
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-800x590.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 590
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/03/BowieMerryXmas-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1425422691,
"modified": 1425422800,
"caption": "David Bowie stars in \u003cem>Merry Christmas Mr. Lawrence\u003c/em>, screening Mar. 26 at YBCA. (Courtesy Janus Films)",
"description": null,
"title": "BowieMerryXmas",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10428050": {
"type": "attachments",
"id": "arts_10428050",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10428050",
"found": true
},
"parent": 10428039,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-320x180.jpg",
"width": 320,
"mimeType": "image/jpeg",
"height": 180
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/ap090426041944_slide-27affc6ccd55291a82d1ece77ff4cbde8b7a3bfb1-e1425062963971-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1425062694,
"modified": 1425063071,
"caption": "Actor Leonard Nimoy died Friday in Los Angeles at the age of 83. (Photo: Matt Sayles/AP )",
"description": "Actor Leonard Nimoy died Friday in Los Angeles at the age of 83.",
"title": "Actor Leonard Nimoy died Friday in Los Angeles at the age of 83.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10417102": {
"type": "attachments",
"id": "arts_10417102",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10417102",
"found": true
},
"parent": 10417100,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/02/oscars-winners-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1424719821,
"modified": 1424719853,
"caption": "Oscar winners J.K. Simmons (best supporting actor), Patricia Arquette (best supporting actress), Julianne Moore (best actress), and Eddie Redmayne (best actor) pose with their trophies, after an awards show that was heavy on advocacy messages. (Photo: Jordan Strauss/Jordan Strauss/Invision/AP)",
"description": "Oscar winners J.K. Simmons (best supporting actor), Patricia Arquette (best supporting actress), Julianne Moore (best actress), and Eddie Redmayne (best actor) pose with their trophies, after an awards show that was heavy on advocacy messages. (Photo: Jordan Strauss/Jordan Strauss/Invision/AP)",
"title": "oscars-winners",
"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": {
"128436": {
"type": "authors",
"id": "128436",
"meta": {
"override": true
},
"slug": "128436",
"name": "Jon Brooks",
"firstName": "Jon",
"lastName": "Brooks",
"bio": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
"email": "jbrooks@kqed.org",
"isLoading": false
},
"10529252": {
"type": "authors",
"id": "10529252",
"meta": {
"override": true
},
"slug": "10529252",
"name": "Elizabeth Duran",
"firstName": "Elizabeth",
"lastName": "Duran",
"bio": "",
"email": "eduran@KQED.org",
"isLoading": false
},
"byline_arts_10428039": {
"type": "authors",
"id": "byline_arts_10428039",
"meta": {
"override": true
},
"slug": "byline_arts_10428039",
"name": "Krishnadev Calamur",
"isLoading": false
},
"byline_arts_10417100": {
"type": "authors",
"id": "byline_arts_10417100",
"meta": {
"override": true
},
"slug": "byline_arts_10417100",
"name": "Bill Chappell",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"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"
},
"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"
},
"dburlison": {
"type": "authors",
"id": "3216",
"meta": {
"index": "authors_1716337520",
"id": "3216",
"found": true
},
"name": "Dani Burlison",
"firstName": "Dani",
"lastName": "Burlison",
"slug": "dburlison",
"email": "danisavestheworld@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003cb id=\"yui_3_16_0_1_1416414652499_5365\" class=\"yiv3033141065\">Dani Burlison\u003c/b> is an award-winning writer, teacher and North Bay resident with a special interest in California's fascinating subcultures. You can find her commentary on writing, feminism, social justice and life with two teen daughters on Twitter at @DaniBurlison.",
"avatar": "https://secure.gravatar.com/avatar/c0b371463a220978c947a5c4ce2da294?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Dani Burlison | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/c0b371463a220978c947a5c4ce2da294?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c0b371463a220978c947a5c4ce2da294?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/dburlison"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557373
},
"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": 208
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 208
}
},
{
"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_10534800": {
"type": "posts",
"id": "arts_10534800",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10534800",
"score": null,
"sort": [
1428444043000
]
},
"guestAuthors": [],
"slug": "the-hunting-ground",
"title": "Documentary Explores College Campuses as 'Hunting Grounds'",
"publishDate": 1428444043,
"format": "standard",
"headTitle": "Documentary Explores College Campuses as ‘Hunting Grounds’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\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>Event Information\u003c/h3>\n\u003ch2>‘The Hunting Ground’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary on campus rape.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Nickelodeon\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">CEMEX Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 2012, Florida State University freshman Erica Kinsman was repeatedly told to “think twice” before naming her alleged rapist when she reported the assault to campus authorities. Because the perpetrator was a star on the campus football team and had a bright future ahead of him, Kinsman watched as her case was mishandled (and neglected by Tallahassee police for 10 months) and the man she accused of raping her after a few drinks at a local bar not only walked free but was praised for his sports performances. The trauma of the incident, including threats and harassment instead of advocacy and support, led Kinsman to drop out of school.\u003c/p>\n\u003cp>Though Kinsman’s case garnered widespread publicity because of her perpetrator’s status in the college football world, her experience has become a common one among the many women and men who report their rapes on college campuses across the nation. Kinsman’s story, and the stories of many others who are no longer remaining silent about the growing problem, are highlighted in a new documentary, \u003cem>\u003ca href=\"http://www.thehuntinggroundfilm.com/\" target=\"_blank\" rel=\"noopener\">The Hunting Ground\u003c/a>\u003c/em>, which screens in \u003ca href=\"http://thenick.com/comingSoon.html#coming_HuntingGround\" target=\"_blank\" rel=\"noopener\">Santa Cruz\u003c/a> and at \u003ca href=\"http://gender.stanford.edu/events/hunting-ground-documentary-screening-and-panel-discussion\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this month.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GBNHGi36nlM\u003c/p>\n\u003cp>Filmmakers Kirby Dick and Amy Zierling are no strangers to the world of misconduct and victim-blaming within institution-related rape cases. The team brought the world of military sexual assault to light in their 2012 award-winning documentary \u003cem>\u003ca href=\"http://invisiblewarmovie.com/\" target=\"_blank\" rel=\"noopener\">The Invisible War\u003c/a>\u003c/em>, which exposed the twisted, unethical treatment of sexual assault survivors in active military duty. On screening tours the pair were repeatedly approached by audience members who saw parallels between the mishandling of military rapes and those on college campuses.\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em>, titled so because of the manner in which college rapes are seen as calculated, premeditated acts against young, vulnerable students, premiered at Sundance in January. Though the film has been met with both skepticism and applause, it has also prompted at least 95 on-campus investigations of sexual assault. Most importantly, however, the film has also sparked much-needed dialogue and advocacy for victims of rapes — on campus and elsewhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Filmmakers explore the chronic and pervasive mishandling of sexual assault cases on U.S. campuses.",
"status": "publish",
"parent": 0,
"modified": 1726700339,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 389
},
"headData": {
"title": "Documentary Explores College Campuses as 'Hunting Grounds' | KQED",
"description": "Filmmakers explore the chronic and pervasive mishandling of sexual assault cases on U.S. campuses.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Documentary Explores College Campuses as 'Hunting Grounds'",
"datePublished": "2015-04-07T15:00:43-07:00",
"dateModified": "2024-09-18T15:58:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10534800/the-hunting-ground",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Event Information\u003c/h3>\n\u003ch2>‘The Hunting Ground’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary on campus rape.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Nickelodeon\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">CEMEX Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 2012, Florida State University freshman Erica Kinsman was repeatedly told to “think twice” before naming her alleged rapist when she reported the assault to campus authorities. Because the perpetrator was a star on the campus football team and had a bright future ahead of him, Kinsman watched as her case was mishandled (and neglected by Tallahassee police for 10 months) and the man she accused of raping her after a few drinks at a local bar not only walked free but was praised for his sports performances. The trauma of the incident, including threats and harassment instead of advocacy and support, led Kinsman to drop out of school.\u003c/p>\n\u003cp>Though Kinsman’s case garnered widespread publicity because of her perpetrator’s status in the college football world, her experience has become a common one among the many women and men who report their rapes on college campuses across the nation. Kinsman’s story, and the stories of many others who are no longer remaining silent about the growing problem, are highlighted in a new documentary, \u003cem>\u003ca href=\"http://www.thehuntinggroundfilm.com/\" target=\"_blank\" rel=\"noopener\">The Hunting Ground\u003c/a>\u003c/em>, which screens in \u003ca href=\"http://thenick.com/comingSoon.html#coming_HuntingGround\" target=\"_blank\" rel=\"noopener\">Santa Cruz\u003c/a> and at \u003ca href=\"http://gender.stanford.edu/events/hunting-ground-documentary-screening-and-panel-discussion\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this month.\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/GBNHGi36nlM'\n title='//www.youtube.com/embed/GBNHGi36nlM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmakers Kirby Dick and Amy Zierling are no strangers to the world of misconduct and victim-blaming within institution-related rape cases. The team brought the world of military sexual assault to light in their 2012 award-winning documentary \u003cem>\u003ca href=\"http://invisiblewarmovie.com/\" target=\"_blank\" rel=\"noopener\">The Invisible War\u003c/a>\u003c/em>, which exposed the twisted, unethical treatment of sexual assault survivors in active military duty. On screening tours the pair were repeatedly approached by audience members who saw parallels between the mishandling of military rapes and those on college campuses.\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em>, titled so because of the manner in which college rapes are seen as calculated, premeditated acts against young, vulnerable students, premiered at Sundance in January. Though the film has been met with both skepticism and applause, it has also prompted at least 95 on-campus investigations of sexual assault. Most importantly, however, the film has also sparked much-needed dialogue and advocacy for victims of rapes — on campus and elsewhere.\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/10534800/the-hunting-ground",
"authors": [
"3216"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10540359",
"label": "arts_140"
},
"arts_10529115": {
"type": "posts",
"id": "arts_10529115",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10529115",
"score": null,
"sort": [
1428159627000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1428159627,
"format": "standard",
"title": "When the Heck is that Film Festival?",
"headTitle": "When the Heck is that Film Festival? | KQED",
"content": "\u003cp>Do you ever ask yourself, when the heck is that __________ film festival happening? Do you ever kick yourself for inadvertently being out of town during your favorite movie-viewing time of year? Well, fear no more. We (along with a little help from \u003ca title=\"Michael Fox\" href=\"http://ww2.kqed.org/arts/author/mfox/\" target=\"_blank\" rel=\"noopener\">Michael Fox\u003c/a>) have put together a (not so) short list of the best of the Bay, so you can enjoy year-round access to films and storytellers.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/thumbnail-filmfestival.jpg\" alt=\"thumbnail-filmfestival\" width=\"200\" height=\"260\" class=\"alignright size-full wp-image-10529260\">\u003c/a>So, bookmark this post or print out this handy, \u003ca title=\"Film Festivals\" href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\" target=\"_blank\" rel=\"noopener\">\u003cstrong>print-friendly list\u003c/strong>\u003c/a> — and sleep easy knowing you won’t miss out on indie films throughout the year. Visit the festivals’ websites for exact dates.\u003c/p>\n\u003cp>\u003cstrong>January\u003c/strong>\u003cbr>\n– \u003ca title=\"Goethe-Institut\" href=\"http://www.berlinbeyond.com\" target=\"_blank\" rel=\"noopener\">Berlin and Beyond\u003c/a> presented by the Goethe-Institut\u003cbr>\n– \u003ca title=\"Noir City\" href=\"http://www.noircity.com\" target=\"_blank\" rel=\"noopener\">Noir City Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>February\u003c/strong>\u003cbr>\n– \u003ca title=\"Cinequest\" href=\"http://www.cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mostly British\" href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Noisepop\" href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener\">NoisePop Film Series\u003c/a>\u003cbr>\n– \u003ca title=\"SFIndie\" href=\"http://sfindie.com/festivals/sf-indiefest\" target=\"_blank\" rel=\"noopener\">San Francisco Independent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March\u003c/strong>\u003cbr>\n– \u003ca title=\"Ocean Film Fest\" href=\"http://oceanfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco International Ocean Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"CAAM Fest\" href=\"http://caamfest.com\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a> (formerly the SF International Asian American Film Festival)\u003cbr>\n– \u003ca title=\"East Bay Jewish Film\" href=\"http://eastbayjewishfilm.org\" target=\"_blank\" rel=\"noopener\">East Bay International Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Sonoma Film Festival\" href=\"http://www.sonomafilmfest.org\" target=\"_blank\" rel=\"noopener\">Sonoma International Film Festival\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Cinematheque\" href=\"http://www.sfcinematheque.org\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a> (avant-garde films) presented by San Francisco Cinematheque\u003cbr>\n– \u003ca title=\"Disposable Film Festival\" href=\"https://disposablefilm.com\" target=\"_blank\" rel=\"noopener\">Disposable Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Food and Farm\" href=\"http://www.foodandfarmfilms.com\" target=\"_blank\" rel=\"noopener\">Food & Farm Film Fest\u003c/a>\u003cbr>\n– \u003ca title=\"USFCA\" href=\"http://www.usfca.edu/artsci/hrff/\" target=\"_blank\" rel=\"noopener\">Human Rights Film Festival\u003c/a> presented by the University of San Francisco\u003cbr>\n– \u003ca title=\"Buddhist Film Foundation\" href=\"http://www.buddhistfilmfoundation.org/international-buddhist-film-festival\" target=\"_blank\" rel=\"noopener\">International Buddhist Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland International Film Festival\" href=\"http://www.oiff.org\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Film Society\" href=\"http://www.sffs.org/festival-home\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>\u003cbr>\n– \u003ca href=\"http://www.tiburonfilmfestival.com\" title=\"Tiburon Film\" target=\"_blank\" rel=\"noopener\">Tiburon International Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May\u003c/strong>\u003cbr>\n– \u003ca title=\"Green Film Festival\" href=\"http://www.greenfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Silent Film Festival\" href=\"http://www.silentfilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>June\u003c/strong>\u003cbr>\n– \u003ca title=\"Docfest\" href=\"http://sfindie.com/festivals/sf-docfest\" target=\"_blank\" rel=\"noopener\">San Francisco Documentary Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Black Film Festival\" href=\"http://sfbff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Frameline\" href=\"http://www.frameline.org\" target=\"_blank\" rel=\"noopener\">San Francisco International LGBT Film Festival\u003c/a> presented by Frameline\u003c/p>\n\u003cp>\u003cstrong>July\u003c/strong>\u003cbr>\n– \u003ca title=\"Frozen Film Festival\" href=\"http://www.frozenfilmfestival.com\" target=\"_blank\" rel=\"noopener\">San Francisco Frozen Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Jewish Film Festival\" href=\"http://www.sfjff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>August\u003c/strong>\u003cbr>\n– \u003ca title=\"Japan Film\" href=\"http://jffsf.org\" target=\"_blank\" rel=\"noopener\">Japan Film Festival of San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>September\u003c/strong>\u003cbr>\n– \u003ca title=\"CAAM San Jose\" href=\"http://caamedia.org/caamfest-san-jose/\" target=\"_blank\" rel=\"noopener\">CAAMFest San Jose\u003c/a>\u003cbr>\n– \u003ca title=\"SF Latino Film Festival\" href=\"http://www.sflatinofilmfestival.com\" target=\"_blank\" rel=\"noopener\">Cine+Mas San Francisco Latino Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland Underground Film Festival\" href=\"http://oakuff.org\" target=\"_blank\" rel=\"noopener\">Oakland Underground Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>October\u003c/strong>\u003cbr>\n– \u003ca title=\"Arab Film Festival\" href=\"http://www.arabfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mill Valley Film Festival\" href=\"http://www.mvff.com\" target=\"_blank\" rel=\"noopener\">Mill Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Dance Film Festival\" href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Third I\" href=\"http://www.thirdi.org/festival/\" target=\"_blank\" rel=\"noopener\">San Francisco International South Asian Film Festival\u003c/a> presented by Third I\u003cbr>\n– \u003ca title=\"San Jose International Short\" href=\"http://www.sjsff.com\" target=\"_blank\" rel=\"noopener\">San Jose International Short Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Shorts\" href=\"http://www.sfshorts.com\" target=\"_blank\" rel=\"noopener\">SF Shorts\u003c/a>\u003cbr>\n– \u003ca title=\"Silicon Valley Jewish Film Festival\" href=\"http://www.svjff.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"UNAFF\" href=\"http://www.unaff.org\" target=\"_blank\" rel=\"noopener\">UNAFF International Documentary Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>November\u003c/strong>\u003cbr>\n– \u003ca title=\"American Indian Film\" href=\"http://aifisf.com\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Napa Valley Film Festival\" href=\"http://napavalleyfilmfest.org\" target=\"_blank\" rel=\"noopener\">Napa Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Film Society\" href=\"http://www.sffs.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society fall season\u003c/a>, which includes French Cinema Now, Hong Kong Cinema, New Italian Cinema (NICE) and Essential SF\u003cbr>\n– \u003ca title=\"Santa Cruz Film Festival\" href=\"http://santacruzfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Santa Cruz Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>December\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Indie\" href=\"http://sfindie.com\" target=\"_blank\" rel=\"noopener\">Another Hole in the Head\u003c/a> (horror, sci-fi, dark fantasy films) presented by SF IndieFest\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post on May 4, 2015: Added Santa Cruz Film Festival, Food & Farm Film Fest, Napa Valley Film Festival, and SF Shorts. Removed ReelAbilities Film Festival.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 445,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705047341,
"excerpt": "Do you ever ask yourself, \"When is the heck is that film festival happening?\" If so, check out our printable guide.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Do you ever ask yourself, "When is the heck is that film festival happening?" If so, check out our printable guide.",
"title": "When the Heck is that Film Festival? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When the Heck is that Film Festival?",
"datePublished": "2015-04-04T08:00:27-07:00",
"dateModified": "2024-01-12T00:15:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [
{
"userLogin": "elizabeth-duran",
"firstName": "Elizabeth",
"lastName": "Duran",
"website": "",
"displayName": "Elizabeth Duran",
"linkedAccount": "",
"nickname": "",
"description": "",
"userEmail": "eduran@KQED.org",
"ID": "10529252",
"type": "guest-author",
"userNicename": "elizabeth-duran"
}
],
"slug": "when-the-heck-is-that-film-festival",
"status": "publish",
"sticky": false,
"nprStoryId": "494628363",
"path": "/arts/10529115/when-the-heck-is-that-film-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you ever ask yourself, when the heck is that __________ film festival happening? Do you ever kick yourself for inadvertently being out of town during your favorite movie-viewing time of year? Well, fear no more. We (along with a little help from \u003ca title=\"Michael Fox\" href=\"http://ww2.kqed.org/arts/author/mfox/\" target=\"_blank\" rel=\"noopener\">Michael Fox\u003c/a>) have put together a (not so) short list of the best of the Bay, so you can enjoy year-round access to films and storytellers.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/thumbnail-filmfestival.jpg\" alt=\"thumbnail-filmfestival\" width=\"200\" height=\"260\" class=\"alignright size-full wp-image-10529260\">\u003c/a>So, bookmark this post or print out this handy, \u003ca title=\"Film Festivals\" href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\" target=\"_blank\" rel=\"noopener\">\u003cstrong>print-friendly list\u003c/strong>\u003c/a> — and sleep easy knowing you won’t miss out on indie films throughout the year. Visit the festivals’ websites for exact dates.\u003c/p>\n\u003cp>\u003cstrong>January\u003c/strong>\u003cbr>\n– \u003ca title=\"Goethe-Institut\" href=\"http://www.berlinbeyond.com\" target=\"_blank\" rel=\"noopener\">Berlin and Beyond\u003c/a> presented by the Goethe-Institut\u003cbr>\n– \u003ca title=\"Noir City\" href=\"http://www.noircity.com\" target=\"_blank\" rel=\"noopener\">Noir City Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>February\u003c/strong>\u003cbr>\n– \u003ca title=\"Cinequest\" href=\"http://www.cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mostly British\" href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Noisepop\" href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener\">NoisePop Film Series\u003c/a>\u003cbr>\n– \u003ca title=\"SFIndie\" href=\"http://sfindie.com/festivals/sf-indiefest\" target=\"_blank\" rel=\"noopener\">San Francisco Independent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March\u003c/strong>\u003cbr>\n– \u003ca title=\"Ocean Film Fest\" href=\"http://oceanfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco International Ocean Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"CAAM Fest\" href=\"http://caamfest.com\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a> (formerly the SF International Asian American Film Festival)\u003cbr>\n– \u003ca title=\"East Bay Jewish Film\" href=\"http://eastbayjewishfilm.org\" target=\"_blank\" rel=\"noopener\">East Bay International Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Sonoma Film Festival\" href=\"http://www.sonomafilmfest.org\" target=\"_blank\" rel=\"noopener\">Sonoma International Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Cinematheque\" href=\"http://www.sfcinematheque.org\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a> (avant-garde films) presented by San Francisco Cinematheque\u003cbr>\n– \u003ca title=\"Disposable Film Festival\" href=\"https://disposablefilm.com\" target=\"_blank\" rel=\"noopener\">Disposable Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Food and Farm\" href=\"http://www.foodandfarmfilms.com\" target=\"_blank\" rel=\"noopener\">Food & Farm Film Fest\u003c/a>\u003cbr>\n– \u003ca title=\"USFCA\" href=\"http://www.usfca.edu/artsci/hrff/\" target=\"_blank\" rel=\"noopener\">Human Rights Film Festival\u003c/a> presented by the University of San Francisco\u003cbr>\n– \u003ca title=\"Buddhist Film Foundation\" href=\"http://www.buddhistfilmfoundation.org/international-buddhist-film-festival\" target=\"_blank\" rel=\"noopener\">International Buddhist Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland International Film Festival\" href=\"http://www.oiff.org\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Film Society\" href=\"http://www.sffs.org/festival-home\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>\u003cbr>\n– \u003ca href=\"http://www.tiburonfilmfestival.com\" title=\"Tiburon Film\" target=\"_blank\" rel=\"noopener\">Tiburon International Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May\u003c/strong>\u003cbr>\n– \u003ca title=\"Green Film Festival\" href=\"http://www.greenfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Silent Film Festival\" href=\"http://www.silentfilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>June\u003c/strong>\u003cbr>\n– \u003ca title=\"Docfest\" href=\"http://sfindie.com/festivals/sf-docfest\" target=\"_blank\" rel=\"noopener\">San Francisco Documentary Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Black Film Festival\" href=\"http://sfbff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Frameline\" href=\"http://www.frameline.org\" target=\"_blank\" rel=\"noopener\">San Francisco International LGBT Film Festival\u003c/a> presented by Frameline\u003c/p>\n\u003cp>\u003cstrong>July\u003c/strong>\u003cbr>\n– \u003ca title=\"Frozen Film Festival\" href=\"http://www.frozenfilmfestival.com\" target=\"_blank\" rel=\"noopener\">San Francisco Frozen Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Jewish Film Festival\" href=\"http://www.sfjff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>August\u003c/strong>\u003cbr>\n– \u003ca title=\"Japan Film\" href=\"http://jffsf.org\" target=\"_blank\" rel=\"noopener\">Japan Film Festival of San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>September\u003c/strong>\u003cbr>\n– \u003ca title=\"CAAM San Jose\" href=\"http://caamedia.org/caamfest-san-jose/\" target=\"_blank\" rel=\"noopener\">CAAMFest San Jose\u003c/a>\u003cbr>\n– \u003ca title=\"SF Latino Film Festival\" href=\"http://www.sflatinofilmfestival.com\" target=\"_blank\" rel=\"noopener\">Cine+Mas San Francisco Latino Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland Underground Film Festival\" href=\"http://oakuff.org\" target=\"_blank\" rel=\"noopener\">Oakland Underground Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>October\u003c/strong>\u003cbr>\n– \u003ca title=\"Arab Film Festival\" href=\"http://www.arabfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mill Valley Film Festival\" href=\"http://www.mvff.com\" target=\"_blank\" rel=\"noopener\">Mill Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Dance Film Festival\" href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Third I\" href=\"http://www.thirdi.org/festival/\" target=\"_blank\" rel=\"noopener\">San Francisco International South Asian Film Festival\u003c/a> presented by Third I\u003cbr>\n– \u003ca title=\"San Jose International Short\" href=\"http://www.sjsff.com\" target=\"_blank\" rel=\"noopener\">San Jose International Short Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Shorts\" href=\"http://www.sfshorts.com\" target=\"_blank\" rel=\"noopener\">SF Shorts\u003c/a>\u003cbr>\n– \u003ca title=\"Silicon Valley Jewish Film Festival\" href=\"http://www.svjff.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"UNAFF\" href=\"http://www.unaff.org\" target=\"_blank\" rel=\"noopener\">UNAFF International Documentary Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>November\u003c/strong>\u003cbr>\n– \u003ca title=\"American Indian Film\" href=\"http://aifisf.com\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Napa Valley Film Festival\" href=\"http://napavalleyfilmfest.org\" target=\"_blank\" rel=\"noopener\">Napa Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Film Society\" href=\"http://www.sffs.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society fall season\u003c/a>, which includes French Cinema Now, Hong Kong Cinema, New Italian Cinema (NICE) and Essential SF\u003cbr>\n– \u003ca title=\"Santa Cruz Film Festival\" href=\"http://santacruzfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Santa Cruz Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>December\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Indie\" href=\"http://sfindie.com\" target=\"_blank\" rel=\"noopener\">Another Hole in the Head\u003c/a> (horror, sci-fi, dark fantasy films) presented by SF IndieFest\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post on May 4, 2015: Added Santa Cruz Film Festival, Food & Farm Film Fest, Napa Valley Film Festival, and SF Shorts. Removed ReelAbilities Film Festival.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10529115/when-the-heck-is-that-film-festival",
"authors": [
"10529252"
],
"categories": [
"arts_968",
"arts_74"
],
"tags": [
"arts_1201",
"arts_1006",
"arts_596"
],
"featImg": "arts_10529242",
"label": "arts"
},
"arts_10502934": {
"type": "posts",
"id": "arts_10502934",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10502934",
"score": null,
"sort": [
1428001249000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1428001249,
"format": "standard",
"title": "The Critic Who Hated 'The Wizard of Oz' and Other Astonishing Movie Reviews",
"headTitle": "The Critic Who Hated ‘The Wizard of Oz’ and Other Astonishing Movie Reviews | KQED",
"content": "\u003cp>If you’re in the market for a contrary opinion, you can’t do better than the September 24, 1939\u003ca href=\"http://www.newrepublic.com/article/film/95059/tnr-film-classics-the-wizard-oz-and-the-adventures-sherlock-holmes-september-24-1\" target=\"_blank\" rel=\"noopener\"> review of \u003cem>The Wizard of Oz\u003c/em>\u003c/a> from \u003cem>The New Republic\u003c/em> film critic Otis Ferguson.\u003c/p>\n\u003cp>“It has dwarfs, music, technicolor, freak characters and Judy Garland,” Ferguson wrote. “It can’t be expected to have a sense of humor as well — and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet.”\u003c/p>\n\u003cp>Ferguson’s critique has to be one of the most churlish and thus entertaining professional assessments in the history of fictional media. I only wish he’d condemned the film as “unrealistic.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It weighs like a pound of fruitcake soaking wet.\u003ccite>Otis Ferguson on ‘The Wizard of Oz’\u003c/cite>\u003c/aside>\n\u003cp>Everyone’s entitled to an opinion, of course, even one that can get you on the wrong side of six-year-old girls. I started thinking about this concept — good critics hating great films — after \u003ca href=\"http://ww2.kqed.org/arts/2014/05/03/interview-dissing-films-with-legendary-critic-david-thomson/\" target=\"_blank\" rel=\"noopener\">interviewing\u003c/a> the esteemed and wildly incisive reviewer David Thomson last year. I mentioned to him \u003cem>2001\u003c/em> had climbed to \u003ca href=\"http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b9450a5\" target=\"_blank\" rel=\"noopener\">No. 6 \u003c/a>in the last \u003ca href=\"http://explore.bfi.org.uk/sightandsoundpolls/2012/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sight and Sound\u003c/em> poll\u003c/a> of movie critics, yet he called the film “a lavish travesty.” Silly me, I thought I could coax a sliver of appreciation from Thomson for what is arguably Stanley Kubrick’s masterpiece. Why so down on the picture, Dave?\u003c/p>\n\u003cp>“Because I think it’s a \u003ci>very bad\u003c/i> film.” His voice rose in good-natured indignation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I couldn’t agree less. But you have to hand it to Thomson for sticking to his guns in the face of overwhelming antithetical opinion. With all due respect to subjectivity, going aggro on movie reviews is a good way to sublimate general misanthropy, and I find it cathartic to declaim that Thomson is just dead wrong.\u003c/p>\n\u003caside class=\"pullquote alignright\">… a lavish travesty and an elaborate defense of vacancy …\u003ccite>David Thomson on ‘2001’\u003c/cite>\u003c/aside>\n\u003cp>Considering the variability of human taste and preference, maybe the fact more outliers don’t exist on the estimation of certain established classics is the remarkable thing here. Compared to some other societal spheres, like, oh … politics … the sum total of opinion seems to indicate a decent consensus around just what constitutes cinematic quality. Can you imagine, say, gun control getting a 91 percent score on Rotten Tomatoes?\u003c/p>\n\u003cp>Still, there’s one in every crowd, and we can only assume Otis Ferguson fed his inner child cod liver oil the day he saw \u003cem>The Wizard of Oz\u003c/em>. Either that or the little guy lost his ability to recognize a life-affirming rainbow staring right at him.\u003c/p>\n\u003cp>Perhaps that’s mean. I should know, because some people said similarly crummy things about my humanity when I penned a jeremiad called \u003cem>How Woody Allen Became a Hack\u003c/em>. I had the temerity to wander from the herd and peg \u003cem>Blue Jasmine\u003c/em> as just another late-period Allen fiasco. The film was widely praised as one of Allen’s greatest achievements (David Thomson \u003ca href=\"http://www.newrepublic.com/article/113818/blue-jasmine-review-david-thomson\" target=\"_blank\" rel=\"noopener\">called Woody’s best film\u003c/a>), and the online judgments came fast and furious. “\u003cem>Blue Jasmine\u003c/em> was brilliant,” harrumphed one commenter. “You are an imbecile,” said, sweetly, another. “Probably a Republican? How you ever got to write anything is a surprise to me. Your logical reasoning is almost on par with a five-year-old. Please die soon and rid humanity from this banter. You are a waste of space.”\u003c/p>\n\u003cp>“No, \u003cem>you\u003c/em> are,” I replied in my head, because there’s no HTML tag to indicate wiggling fingers with thumbs touching ears.\u003c/p>\n\u003cp>I’m also happy to note a fair amount of people actually agreed with me on \u003ci>Blue Jasmine\u003c/i>, proving the comments section can be a validating experience when it doesn’t make you want to stick your head in a blender.\u003c/p>\n\u003caside class=\"pullquote alignright\">Nothing about the family resonated with me.\u003ccite>Victoria Alexander on ‘Boyhood’\u003c/cite>\u003c/aside>\n\u003cp>Take for instance, the comments on this anomalous \u003ca href=\"http://lasvegas.informermg.com/2014/12/03/boyhood-movie-review/\" target=\"_blank\" rel=\"noopener\">pan\u003c/a> of \u003cem>Boyhood\u003c/em> by movie critic Victoria Alexander of the \u003ci>Las Vegas Informer\u003c/i>. Hailed as an innovative, metaphysically joyous stroke of brilliance in its use of the same actors over 12 years of shooting, the film gets a stunning \u003ca href=\"http://www.rottentomatoes.com/m/boyhood\" target=\"_blank\" rel=\"noopener\">98 percent positive rating\u003c/a> among reviews collected on Rotten Tomatoes. Indeed, \u003cem>Boyhood\u003c/em> stakeholders probably thought they’d died and gone to marketing heaven when they were able to truthfully stick a review snippet at the top of their poster that read: “The most impressive film ever made.”\u003c/p>\n\u003cp>You have to give credit to Alexander for writing her honest negative opinion:\u003c/p>\n\u003cblockquote>\u003cp>Nothing about the family resonated with me. There was no high drama, conflict, or family rage that is so common today in families broken through divorce. Linklater should have filmed a few days every month at our house the year my stepson came to live with us.\u003c/p>\u003c/blockquote>\n\u003cp>Several commenters on Alexander’s piece seemed to be waiting for someone to tell it like it was: “It’s nice to see the Emperor’s clothes as they really are.” But not everyone: “Escape your bubble. Get out of Vegas for a while. That’s all I can say.”\u003c/p>\n\u003caside class=\"pullquote alignright\">… marred by obvious items of shopworn inspiration.\u003ccite>Manny Farber on ‘Citizen Kane’\u003c/cite>\u003c/aside>\n\u003cp>Can you imagine what the comments section would look like if legendary film critic \u003ca href=\"https://www.google.com/search?q=manny+farber\" target=\"_blank\" rel=\"noopener\">Manny Farber\u003c/a> were writing today? After reading one anthology of his work, I struggled to pick out which of the films he actually liked of the hundreds cited. He had serious qualms with some, he damned many with faint praise and others he viewed as clear evidence of a doomed culture. \u003c/p>\n\u003cp>Among the roster of great movies of little worth to Farber: \u003cem>The Asphalt Jungle\u003c/em>, \u003cem>The Third Man\u003c/em> ( a “monsterpiece”); \u003cem>Sunset Boulevard\u003c/em> (“cleverly camouflaged hot air”), \u003cem>Hail the Conquering Hero\u003c/em>, \u003cem>A Place in the Sun\u003c/em>, \u003cem>Grapes of Wrath\u003c/em>, \u003cem>A Face in the Crowd\u003c/em>, \u003cem>La Notte\u003c/em> (“embarrassing the viewer with dialogue about art that is sophomorically one-dimensional”), \u003cem>The 400 Blows\u003c/em>, \u003cem>L’Avventura\u003c/em>, \u003cem>Lawrence of Arabia\u003c/em>, \u003cem>Repulsion\u003c/em>, \u003cem>Band of Outsiders\u003c/em>, \u003cem>The Graduate\u003c/em> (“the simplest sentences have trouble surfacing through this lipless mini-man”) and \u003cem>Psycho\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Citizen Kane\u003c/em>, he said, was “marred by obvious items of shopworn inspiration.”\u003c/p>\n\u003cp>Jeez.\u003c/p>\n\u003caside class=\"pullquote alignright\">I don’t see how any gifted actor could have done less than Brando does here. \u003ccite>Stanley Kauffmann on ‘The Godfather’\u003c/cite>\u003c/aside>\n\u003cp>Nor did Farber enjoy Marlon Brando in \u003cem>A Streetcar Named Desire\u003c/em>, as he found the actor to be “stuttering the first syllables of his sentences and mumbling the rest as though through a mouthful of mashed potatoes.”\u003c/p>\n\u003cp>Brando’s method, it seems, is a distinctly non-acquired taste for some. Stanley Kauffmann of \u003ci>The New Republic\u003c/i> \u003ca href=\"http://www.newrepublic.com/article/film/101783/tnr-film-classics-the-godfather-april-1-1972\" target=\"_blank\" rel=\"noopener\">wrote about the actor\u003c/a> in \u003cem>The Godfather\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>They have put padding in his cheeks and dirtied his teeth, he speaks hoarsely and moves stiffly, and these combined mechanics are hailed as great acting. I don’t see how any gifted actor could have done less than Brando does here. His resident power, his sheer innate force, has rarely seemed weaker.\u003c/p>\u003c/blockquote>\n\u003cp>Kauffmann didn’t enjoy the rest of the film, either. He believed Al Pacino’s part was “too demanding” for him, Nino Rota’s music score was “rotten” and Francis Ford Coppola had “saved all his limited ingenuity for the shootings and stranglings, which are among the most vicious I can remember on film. The print of the picture showed to the New York press had very washed-out colors.”\u003c/p>\n\u003cp>The popcorn, most likely, was also stale.\u003c/p>\n\u003caside class=\"pullquote alignright\">Everything of any interest was thoroughly covered in the original film …\u003ccite>Vincent Canby on ‘The Godfather II’\u003c/cite>\u003c/aside>\n\u003cp>Kauffmann couldn’t have known, of course, that \u003cem>The Godfather\u003c/em> would go on to become one of the most critically praised and avidly enjoyed movies of all time, and that the internet would not only prevent an embarrassing review from disappearing into the scrapheap of history, but make it readily accessible \u003cem>forever\u003c/em>. While time makes fools of us all, who wants it on our permanent record, ready for posting on Facebook?\u003c/p>\n\u003cp>But critics-are-human-too aside, how can you not enjoy longtime \u003ci>New York Times\u003c/i> reviewer Vincent Canby’s \u003ca href=\"http://www.nytimes.com/packages/html/movies/bestpictures/godfather2-re.html\" target=\"_blank\" rel=\"noopener\">opinion\u003c/a> of \u003cem>The Godfather II\u003c/em> as lacking because “Everything of any interest was covered in the original film.” Or Pauline Kael’s appraisal of \u003cem>Raging Bull\u003c/em> director Martin Scorsese, whose “excesses verge on parody.” Not to mention her opinion of Robert De Niro as Jake LaMotta:\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s an epic without a dream.\u003ccite>Pauline Kael on ‘Star Wars’\u003c/cite>\u003c/aside>\n\u003cp>“What De Niro does in this picture isn’t acting, exactly, I’m not sure what it is. Though it may at some level be awesome, it definitely isn’t pleasurable.”\u003c/p>\n\u003cp>Kael didn’t like the Fellini classic \u003cem>8 ½\u003c/em> either (\u003ca href=\"http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b25bb2b\" target=\"_blank\" rel=\"noopener\">No. 10 on the \u003ci>Sight and Sound\u003c/i> poll\u003c/a>). And … prepare yourself, internet … she \u003ca href=\"http://www.newyorker.com/books/double-take/takes-kael-on-star-wars\" target=\"_blank\" rel=\"noopener\">savaged \u003cem>Star Wars\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“… it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience,” she wrote. “(I)t has no emotional grip … It’s an epic without a dream.”\u003c/p>\n\u003cp>Kael never retreated from an opinion simply because it went against the grain. Nor would any critic worth half his or her free movie passes. Yet, as someone who thinks and writes frequently about movies, I have to acknowledge that an opinion can be revised upon future viewing. When I watched \u003cem>Blue Jasmine\u003c/em> again, I didn’t think it was half bad. (Just 45 percent bad.) In the theater, I judged \u003cem>The Master\u003c/em> an elusive Paul Thomas Anderson misfire. On Blu-ray, I thought it was pretty good. After a third viewing, it was a masterpiece.\u003c/p>\n\u003cp>Let us praise reviews like Otis Ferguson’s, and let us have our \u003ca href=\"http://www.sfgate.com/entertainment/article/Today-s-extra-Little-Man-big-clout-3168416.php\" target=\"_blank\" rel=\"noopener\">little man\u003c/a> enthusiastically clap for the curmudgeons, naysayers, pessimists and critics with a capital “C” who just can’t get on board. After all, a world that takes delight in flying monkeys and talking scarecrows \u003cem>without exception\u003c/em> is anti-democratic.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And besides: they’re only movies.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1821,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 34
},
"modified": 1705047354,
"excerpt": "When good critics hate great movies.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When good critics hate great movies.",
"title": "The Critic Who Hated 'The Wizard of Oz' and Other Astonishing Movie Reviews | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Critic Who Hated 'The Wizard of Oz' and Other Astonishing Movie Reviews",
"datePublished": "2015-04-02T12:00:49-07:00",
"dateModified": "2024-01-12T00:15:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [
{
"userLogin": "jon-brooks",
"firstName": "Jon",
"lastName": "Brooks",
"website": "",
"displayName": "Jon Brooks",
"linkedAccount": "jbrooks",
"nickname": "",
"description": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
"userEmail": "jbrooks@kqed.org",
"ID": "128436",
"type": "guest-author",
"userNicename": "jon-brooks"
}
],
"slug": "the-critic-who-hated-the-wizard-of-oz-and-other-astonishing-movie-reviews",
"status": "publish",
"sticky": false,
"path": "/arts/10502934/the-critic-who-hated-the-wizard-of-oz-and-other-astonishing-movie-reviews",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re in the market for a contrary opinion, you can’t do better than the September 24, 1939\u003ca href=\"http://www.newrepublic.com/article/film/95059/tnr-film-classics-the-wizard-oz-and-the-adventures-sherlock-holmes-september-24-1\" target=\"_blank\" rel=\"noopener\"> review of \u003cem>The Wizard of Oz\u003c/em>\u003c/a> from \u003cem>The New Republic\u003c/em> film critic Otis Ferguson.\u003c/p>\n\u003cp>“It has dwarfs, music, technicolor, freak characters and Judy Garland,” Ferguson wrote. “It can’t be expected to have a sense of humor as well — and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet.”\u003c/p>\n\u003cp>Ferguson’s critique has to be one of the most churlish and thus entertaining professional assessments in the history of fictional media. I only wish he’d condemned the film as “unrealistic.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It weighs like a pound of fruitcake soaking wet.\u003ccite>Otis Ferguson on ‘The Wizard of Oz’\u003c/cite>\u003c/aside>\n\u003cp>Everyone’s entitled to an opinion, of course, even one that can get you on the wrong side of six-year-old girls. I started thinking about this concept — good critics hating great films — after \u003ca href=\"http://ww2.kqed.org/arts/2014/05/03/interview-dissing-films-with-legendary-critic-david-thomson/\" target=\"_blank\" rel=\"noopener\">interviewing\u003c/a> the esteemed and wildly incisive reviewer David Thomson last year. I mentioned to him \u003cem>2001\u003c/em> had climbed to \u003ca href=\"http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b9450a5\" target=\"_blank\" rel=\"noopener\">No. 6 \u003c/a>in the last \u003ca href=\"http://explore.bfi.org.uk/sightandsoundpolls/2012/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sight and Sound\u003c/em> poll\u003c/a> of movie critics, yet he called the film “a lavish travesty.” Silly me, I thought I could coax a sliver of appreciation from Thomson for what is arguably Stanley Kubrick’s masterpiece. Why so down on the picture, Dave?\u003c/p>\n\u003cp>“Because I think it’s a \u003ci>very bad\u003c/i> film.” His voice rose in good-natured indignation.\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>I couldn’t agree less. But you have to hand it to Thomson for sticking to his guns in the face of overwhelming antithetical opinion. With all due respect to subjectivity, going aggro on movie reviews is a good way to sublimate general misanthropy, and I find it cathartic to declaim that Thomson is just dead wrong.\u003c/p>\n\u003caside class=\"pullquote alignright\">… a lavish travesty and an elaborate defense of vacancy …\u003ccite>David Thomson on ‘2001’\u003c/cite>\u003c/aside>\n\u003cp>Considering the variability of human taste and preference, maybe the fact more outliers don’t exist on the estimation of certain established classics is the remarkable thing here. Compared to some other societal spheres, like, oh … politics … the sum total of opinion seems to indicate a decent consensus around just what constitutes cinematic quality. Can you imagine, say, gun control getting a 91 percent score on Rotten Tomatoes?\u003c/p>\n\u003cp>Still, there’s one in every crowd, and we can only assume Otis Ferguson fed his inner child cod liver oil the day he saw \u003cem>The Wizard of Oz\u003c/em>. Either that or the little guy lost his ability to recognize a life-affirming rainbow staring right at him.\u003c/p>\n\u003cp>Perhaps that’s mean. I should know, because some people said similarly crummy things about my humanity when I penned a jeremiad called \u003cem>How Woody Allen Became a Hack\u003c/em>. I had the temerity to wander from the herd and peg \u003cem>Blue Jasmine\u003c/em> as just another late-period Allen fiasco. The film was widely praised as one of Allen’s greatest achievements (David Thomson \u003ca href=\"http://www.newrepublic.com/article/113818/blue-jasmine-review-david-thomson\" target=\"_blank\" rel=\"noopener\">called Woody’s best film\u003c/a>), and the online judgments came fast and furious. “\u003cem>Blue Jasmine\u003c/em> was brilliant,” harrumphed one commenter. “You are an imbecile,” said, sweetly, another. “Probably a Republican? How you ever got to write anything is a surprise to me. Your logical reasoning is almost on par with a five-year-old. Please die soon and rid humanity from this banter. You are a waste of space.”\u003c/p>\n\u003cp>“No, \u003cem>you\u003c/em> are,” I replied in my head, because there’s no HTML tag to indicate wiggling fingers with thumbs touching ears.\u003c/p>\n\u003cp>I’m also happy to note a fair amount of people actually agreed with me on \u003ci>Blue Jasmine\u003c/i>, proving the comments section can be a validating experience when it doesn’t make you want to stick your head in a blender.\u003c/p>\n\u003caside class=\"pullquote alignright\">Nothing about the family resonated with me.\u003ccite>Victoria Alexander on ‘Boyhood’\u003c/cite>\u003c/aside>\n\u003cp>Take for instance, the comments on this anomalous \u003ca href=\"http://lasvegas.informermg.com/2014/12/03/boyhood-movie-review/\" target=\"_blank\" rel=\"noopener\">pan\u003c/a> of \u003cem>Boyhood\u003c/em> by movie critic Victoria Alexander of the \u003ci>Las Vegas Informer\u003c/i>. Hailed as an innovative, metaphysically joyous stroke of brilliance in its use of the same actors over 12 years of shooting, the film gets a stunning \u003ca href=\"http://www.rottentomatoes.com/m/boyhood\" target=\"_blank\" rel=\"noopener\">98 percent positive rating\u003c/a> among reviews collected on Rotten Tomatoes. Indeed, \u003cem>Boyhood\u003c/em> stakeholders probably thought they’d died and gone to marketing heaven when they were able to truthfully stick a review snippet at the top of their poster that read: “The most impressive film ever made.”\u003c/p>\n\u003cp>You have to give credit to Alexander for writing her honest negative opinion:\u003c/p>\n\u003cblockquote>\u003cp>Nothing about the family resonated with me. There was no high drama, conflict, or family rage that is so common today in families broken through divorce. Linklater should have filmed a few days every month at our house the year my stepson came to live with us.\u003c/p>\u003c/blockquote>\n\u003cp>Several commenters on Alexander’s piece seemed to be waiting for someone to tell it like it was: “It’s nice to see the Emperor’s clothes as they really are.” But not everyone: “Escape your bubble. Get out of Vegas for a while. That’s all I can say.”\u003c/p>\n\u003caside class=\"pullquote alignright\">… marred by obvious items of shopworn inspiration.\u003ccite>Manny Farber on ‘Citizen Kane’\u003c/cite>\u003c/aside>\n\u003cp>Can you imagine what the comments section would look like if legendary film critic \u003ca href=\"https://www.google.com/search?q=manny+farber\" target=\"_blank\" rel=\"noopener\">Manny Farber\u003c/a> were writing today? After reading one anthology of his work, I struggled to pick out which of the films he actually liked of the hundreds cited. He had serious qualms with some, he damned many with faint praise and others he viewed as clear evidence of a doomed culture. \u003c/p>\n\u003cp>Among the roster of great movies of little worth to Farber: \u003cem>The Asphalt Jungle\u003c/em>, \u003cem>The Third Man\u003c/em> ( a “monsterpiece”); \u003cem>Sunset Boulevard\u003c/em> (“cleverly camouflaged hot air”), \u003cem>Hail the Conquering Hero\u003c/em>, \u003cem>A Place in the Sun\u003c/em>, \u003cem>Grapes of Wrath\u003c/em>, \u003cem>A Face in the Crowd\u003c/em>, \u003cem>La Notte\u003c/em> (“embarrassing the viewer with dialogue about art that is sophomorically one-dimensional”), \u003cem>The 400 Blows\u003c/em>, \u003cem>L’Avventura\u003c/em>, \u003cem>Lawrence of Arabia\u003c/em>, \u003cem>Repulsion\u003c/em>, \u003cem>Band of Outsiders\u003c/em>, \u003cem>The Graduate\u003c/em> (“the simplest sentences have trouble surfacing through this lipless mini-man”) and \u003cem>Psycho\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Citizen Kane\u003c/em>, he said, was “marred by obvious items of shopworn inspiration.”\u003c/p>\n\u003cp>Jeez.\u003c/p>\n\u003caside class=\"pullquote alignright\">I don’t see how any gifted actor could have done less than Brando does here. \u003ccite>Stanley Kauffmann on ‘The Godfather’\u003c/cite>\u003c/aside>\n\u003cp>Nor did Farber enjoy Marlon Brando in \u003cem>A Streetcar Named Desire\u003c/em>, as he found the actor to be “stuttering the first syllables of his sentences and mumbling the rest as though through a mouthful of mashed potatoes.”\u003c/p>\n\u003cp>Brando’s method, it seems, is a distinctly non-acquired taste for some. Stanley Kauffmann of \u003ci>The New Republic\u003c/i> \u003ca href=\"http://www.newrepublic.com/article/film/101783/tnr-film-classics-the-godfather-april-1-1972\" target=\"_blank\" rel=\"noopener\">wrote about the actor\u003c/a> in \u003cem>The Godfather\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>They have put padding in his cheeks and dirtied his teeth, he speaks hoarsely and moves stiffly, and these combined mechanics are hailed as great acting. I don’t see how any gifted actor could have done less than Brando does here. His resident power, his sheer innate force, has rarely seemed weaker.\u003c/p>\u003c/blockquote>\n\u003cp>Kauffmann didn’t enjoy the rest of the film, either. He believed Al Pacino’s part was “too demanding” for him, Nino Rota’s music score was “rotten” and Francis Ford Coppola had “saved all his limited ingenuity for the shootings and stranglings, which are among the most vicious I can remember on film. The print of the picture showed to the New York press had very washed-out colors.”\u003c/p>\n\u003cp>The popcorn, most likely, was also stale.\u003c/p>\n\u003caside class=\"pullquote alignright\">Everything of any interest was thoroughly covered in the original film …\u003ccite>Vincent Canby on ‘The Godfather II’\u003c/cite>\u003c/aside>\n\u003cp>Kauffmann couldn’t have known, of course, that \u003cem>The Godfather\u003c/em> would go on to become one of the most critically praised and avidly enjoyed movies of all time, and that the internet would not only prevent an embarrassing review from disappearing into the scrapheap of history, but make it readily accessible \u003cem>forever\u003c/em>. While time makes fools of us all, who wants it on our permanent record, ready for posting on Facebook?\u003c/p>\n\u003cp>But critics-are-human-too aside, how can you not enjoy longtime \u003ci>New York Times\u003c/i> reviewer Vincent Canby’s \u003ca href=\"http://www.nytimes.com/packages/html/movies/bestpictures/godfather2-re.html\" target=\"_blank\" rel=\"noopener\">opinion\u003c/a> of \u003cem>The Godfather II\u003c/em> as lacking because “Everything of any interest was covered in the original film.” Or Pauline Kael’s appraisal of \u003cem>Raging Bull\u003c/em> director Martin Scorsese, whose “excesses verge on parody.” Not to mention her opinion of Robert De Niro as Jake LaMotta:\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s an epic without a dream.\u003ccite>Pauline Kael on ‘Star Wars’\u003c/cite>\u003c/aside>\n\u003cp>“What De Niro does in this picture isn’t acting, exactly, I’m not sure what it is. Though it may at some level be awesome, it definitely isn’t pleasurable.”\u003c/p>\n\u003cp>Kael didn’t like the Fellini classic \u003cem>8 ½\u003c/em> either (\u003ca href=\"http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b25bb2b\" target=\"_blank\" rel=\"noopener\">No. 10 on the \u003ci>Sight and Sound\u003c/i> poll\u003c/a>). And … prepare yourself, internet … she \u003ca href=\"http://www.newyorker.com/books/double-take/takes-kael-on-star-wars\" target=\"_blank\" rel=\"noopener\">savaged \u003cem>Star Wars\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“… it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience,” she wrote. “(I)t has no emotional grip … It’s an epic without a dream.”\u003c/p>\n\u003cp>Kael never retreated from an opinion simply because it went against the grain. Nor would any critic worth half his or her free movie passes. Yet, as someone who thinks and writes frequently about movies, I have to acknowledge that an opinion can be revised upon future viewing. When I watched \u003cem>Blue Jasmine\u003c/em> again, I didn’t think it was half bad. (Just 45 percent bad.) In the theater, I judged \u003cem>The Master\u003c/em> an elusive Paul Thomas Anderson misfire. On Blu-ray, I thought it was pretty good. After a third viewing, it was a masterpiece.\u003c/p>\n\u003cp>Let us praise reviews like Otis Ferguson’s, and let us have our \u003ca href=\"http://www.sfgate.com/entertainment/article/Today-s-extra-Little-Man-big-clout-3168416.php\" target=\"_blank\" rel=\"noopener\">little man\u003c/a> enthusiastically clap for the curmudgeons, naysayers, pessimists and critics with a capital “C” who just can’t get on board. After all, a world that takes delight in flying monkeys and talking scarecrows \u003cem>without exception\u003c/em> is anti-democratic.\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>And besides: they’re only movies.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10502934/the-critic-who-hated-the-wizard-of-oz-and-other-astonishing-movie-reviews",
"authors": [
"128436"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"featImg": "arts_10524959",
"label": "arts"
},
"arts_10509076": {
"type": "posts",
"id": "arts_10509076",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10509076",
"score": null,
"sort": [
1427826629000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1427826629,
"format": "standard",
"title": "Lineup Just Announced: The 10 Tickets at SFIFF That Will Sell Out",
"headTitle": "Lineup Just Announced: The 10 Tickets at SFIFF That Will Sell Out | KQED",
"content": "\u003cp>Today, the \u003cstrong>San Francisco International Film Festival\u003c/strong>, running April 23 – May 7 at various venues in San Francisco and the East Bay, announced its 2015 lineup. Much of the fun of a film festival is deciphering the tea leaves (aka program notes) to identify the rare gems from the “pretty good” movies, and the “you had to be there” events from those that sound good on paper. You’re on your own for that pleasurably confounding exercise for the moment, as this missive rounds up the programs most likely to sell out. Note I didn’t add “and leave you disappointed” because today the emphasis is on quantitative, not qualitative, judgments.\u003c/p>\n\u003cp>Tickets for the two-night stand of Miranda July’s interactive performance, \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/new-society\" target=\"_blank\" rel=\"noopener\">New Society\u003c/a>\u003c/em>, at the Brava Theatre went on sale weeks ago and are gone, except for a handful reserved for San Francisco Film Society members. Your best bet is to call your friendly neighborhood scalper.\u003c/p>\n\u003cp>What do you get when you pair the second coming of New York synth-poppers Cibo Matto with the kicky visuals of animated shorts and the 1970-filmed performance of Oskar Schlemmer’s \u003cem>Triadic Ballet\u003c/em>? \u003ca href=\"http://www.sffs.org/sfiff58/program/cibo-matto-new-scene\" target=\"_blank\" rel=\"noopener\">One buzzy show\u003c/a> (May 5 at the Castro). \u003cstrong>SFIFF’s\u003c/strong> long-running and often-inspired scheme of commissioning contemporary musicians to accompany silent films is one of the fest’s most popular events.\u003c/p>\n\u003cfigure id=\"attachment_10519046\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb.jpg\" alt=\"Kronos Quartet, Beyond Zero: 1914-1918 (Photo by Lenny Gonzalez, Courtesy of the Kronos Quartet)\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet,\u003cbr>\u003ci>Beyond Zero: 1914-1918\u003c/i> (Photo by Lenny Gonzalez, Courtesy of the Kronos Quartet)\u003c/figcaption>\u003c/figure>\n\u003cp>On a more melancholy note, Kronos Quartet and Bill Morrison, the master of decayed 35mm film, mark the centennial of World War I with \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/kronos-quartet-beyond-zero-1914-1918\" target=\"_blank\" rel=\"noopener\">Beyond Zero: 1914-1918\u003c/a>\u003c/em> (May 6 at the Sundance Kabuki). Ancient, flickering visuals and minor-chord movements evoke the long-gone soldiers and the timeless futility of war.\u003c/p>\n\u003cp>Against the odds, Richard Gere evolved from an impossibly handsome clotheshorse to an actor of gravitas and integrity. Yes, and every single one of his \u003cem>Pretty Woman\u003c/em> fans will pack the Castro on Apr. 26 for his onstage interview and \u003ca href=\"http://www.sffs.org/sfiff58/program/peter-j-owens-award-richard-gere-time-out-of-mind\" target=\"_blank\" rel=\"noopener\">Peter J. Owens Award\u003c/a> acceptance speech. For dessert, there’s Gere’s weighty turn as a homeless man in \u003cem>Time Out of Mind\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10519041\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01.jpg\" alt=\"Guillermo del Toro (Courtesy of the San Francisco Film Society)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo del Toro (Courtesy of the San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>The Mexican filmmakers Alfonso Cuarón and Alejandro González Iñárritu won the last two Oscars for directing, and it would surprise no one to see their close friend and countryman Guillermo del Toro hoisting the gold statue one day. Until then, del Toro’s greatest admirers are the \u003cem>Hellboy\u003c/em> fans who can’t wait to see him receive the \u003ca href=\"http://www.sffs.org/sfiff58/program/irving-m-levin-directing-award-an-evening-with-guillermo-del-toro\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award\u003c/a> and introduce his Spanish Civil War chiller from 2001, \u003cem>The Devil’s Backbone\u003c/em> (Apr. 25).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Douglas Trumbull is an inventor and futurist whose talent and ambition extends beyond innovative visual effects for movies like \u003cem>The Andromeda Strain\u003c/em> and \u003cem>Blade Runner\u003c/em>. Whether he discusses big-picture concepts or trivial technical tricks in his \u003ca href=\"http://www.sffs.org/sfiff58/program/state-of-cinema-address-douglas-trumbull\" target=\"_blank\" rel=\"noopener\">State of Cinema address\u003c/a>, the offspring of the \u003cem>Star Wars\u003c/em> generation will fill the house.\u003c/p>\n\u003cfigure id=\"attachment_10520347\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10520347\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01.jpg\" alt=\"A scene from Jason Zeldes' Romeo is Bleeding (Courtesy of the San Francisco Film Society)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Jason Zeldes’ \u003ci>Romeo is Bleeding\u003c/i> (Courtesy of the San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>Aiming to turn a certain number of screenings into events, the festival has arranged special guests for post-film discussions. If the extraordinary local history revived in Stanley Nelson’s documentary, \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/the-black-panthers-vanguard-of-the-revolution\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/em>, isn’t enough to pack the room, the panel of former Panthers will do it.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/romeo-is-bleeding\" target=\"_blank\" rel=\"noopener\">Romeo Is Bleeding\u003c/a>\u003c/em>, Jason Zeldes’ documentary about local poet Donte Clark’s staging of Romeo and Juliet with African American teenagers in Richmond, may be more relevant to high school students than the Panthers’ goals and struggles. The world premiere at El Cerrito High will be a raucous affair, but the screenings at the festival should be pretty electric, too.\u003c/p>\n\u003cfigure id=\"attachment_10519044\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519044\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/15325-3-1100.jpg\" alt=\"Jonathan Gold in City of Gold (Courtesy of the Sundance Institute)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/15325-3-1100.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/15325-3-1100-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/15325-3-1100-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Gold in \u003ci>City of Gold\u003c/i> (Courtesy of the Sundance Institute)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to handicap which documentary portrait of a colorful character will emerge as a word-of-mouth favorite, but I’m leaning toward \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/city-of-gold\" target=\"_blank\" rel=\"noopener\">City of Gold\u003c/a>\u003c/em>, Laura Gabbert’s profile of eccentric Los Angeles food critic Jonathan Gold. (San Francisco is chock-a-block with food enthusiasts, after all.) Runner-up: \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/iris\" target=\"_blank\" rel=\"noopener\">Iris\u003c/a>\u003c/em>, the last completed film by the recently departed Albert Maysles, is a humanistic study of an unlikely, 90-something New York fashion icon. Both films will open theatrically, but their obvious pleasures assure sellouts at the \u003cstrong>SFIFF\u003c/strong>.\u003c/p>\n\u003cp>The charm and lineage of actress Isabella Rosselini, a former model and the daughter of movie greats Ingrid Bergman and Roberto Rossellini, will attract adoring crowds to the world premiere of \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/isabella-rossellini%E2%80%99s-green-porno-live\" target=\"_blank\" rel=\"noopener\">Isabella Rossellini’s Green Porno Live!\u003c/a>\u003c/em> This entertaining documentary presents her touring monologue about the sex lives of animals, birds, fish and insects, augmented with scenes from her endearing \u003cem>Green Porno\u003c/em> short films.\u003c/p>\n\u003cp>Finally, I’ll make a long-shot guess that \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/theory-of-obscurity-a-film-about-the-residents\" target=\"_blank\" rel=\"noopener\">Theory of Obscurity: A Film about the Residents\u003c/a>\u003c/em> will draw the remaining survivors and devotees of San Francisco’s once-thriving alternative and underground performance scene, along with the current wave of art-school students and nascent conceptual artists. (If that sounds like a variation of \u003cem>The Walking Dead\u003c/em>, I hear you. Maybe you’d like to join me just to see who shows up.) Certainly the Residents fit comfortably with so many others in the \u003cstrong>SFIFF\u003c/strong> — Bill Morrison, Guillermo del Toro, Douglas Trumbull, the Black Panthers, Jonathan Gold, Iris Apfel — who resist compromise and constraint.\u003c/p>\n\u003cfigure id=\"attachment_10519042\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519042\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01.jpg\" alt=\"Still from Alex Gibney's Steve Jobs: The Man in the Machine (Courtesy of the San Francisco Film Society)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Alex Gibney’s \u003ci>Steve Jobs: The Man in the Machine\u003c/i> (Courtesy of the San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, opening night (\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/steve-jobs-the-man-in-the-machine\" target=\"_blank\" rel=\"noopener\">Steve Jobs: The Man in the Machine\u003c/a>\u003c/em> by the prolific, prosaic documentary maker Alex Gibney) and closing night (\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/experimenter\" target=\"_blank\" rel=\"noopener\">Experimenter\u003c/a>\u003c/em>, starring Peter Sarsgaard as the infamous 1960s social psychologist Stanley Milgram) will fill with festival sponsors, donors and fans of good parties. The latter group, plus anyone nostalgic for disco, will hustle to the director’s cut of \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/54-the-director%E2%80%99s-cut\" target=\"_blank\" rel=\"noopener\">54\u003c/a>\u003c/em> (1998) with Ryan Philippe on hand. \u003ca href=\"http://www.sffs.org/sfiff58/program/an-evening-with-nonny-de-la-pe%C3%B1a-immersive-journalism\" target=\"_blank\" rel=\"noopener\">Nonny de la Pena\u003c/a>, who combines real life scenarios and virtual reality paraphernalia into “immersive journalism,” will be a popular draw given the large numbers of documentary filmmakers and technology acolytes (from video games to phone apps and beyond) hereabouts. Finally, a couple more docs that just might make waves at the box office are Liz Garbus’ \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/what-happened-miss-simone\" target=\"_blank\" rel=\"noopener\">What Happened, Miss Simone?\u003c/a>\u003c/em> (about singer-activist Nina Simone) and \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/the-look-of-silence\" target=\"_blank\" rel=\"noopener\">The Look of Silence\u003c/a>\u003c/em>, Joshua Oppenheimer’s follow-up to Oscar-nominee \u003cem>The Act of Killing\u003c/em>, which focuses on the victims (rather than the perpetrators) of the Indonesian slaughter. Happy shopping!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The \u003cstrong>San Francisco International Film Festival\u003c/strong> runs April 23 – May 7, 2015. For \u003ca href=\"http://www.sffs.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1157,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705047362,
"excerpt": "The San Francisco International Film Festival announced its lineup today, and the rush is on for the tributes, premieres and one-of-a kind events.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The San Francisco International Film Festival announced its lineup today, and the rush is on for the tributes, premieres and one-of-a kind events.",
"title": "Lineup Just Announced: The 10 Tickets at SFIFF That Will Sell Out | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lineup Just Announced: The 10 Tickets at SFIFF That Will Sell Out",
"datePublished": "2015-03-31T11:30:29-07:00",
"dateModified": "2024-01-12T00:16:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-ten-toughest-tickets-at-sfiff",
"status": "publish",
"sourceUrl": "http://www.sffs.org",
"sticky": false,
"path": "/arts/10509076/the-ten-toughest-tickets-at-sfiff",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, the \u003cstrong>San Francisco International Film Festival\u003c/strong>, running April 23 – May 7 at various venues in San Francisco and the East Bay, announced its 2015 lineup. Much of the fun of a film festival is deciphering the tea leaves (aka program notes) to identify the rare gems from the “pretty good” movies, and the “you had to be there” events from those that sound good on paper. You’re on your own for that pleasurably confounding exercise for the moment, as this missive rounds up the programs most likely to sell out. Note I didn’t add “and leave you disappointed” because today the emphasis is on quantitative, not qualitative, judgments.\u003c/p>\n\u003cp>Tickets for the two-night stand of Miranda July’s interactive performance, \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/new-society\" target=\"_blank\" rel=\"noopener\">New Society\u003c/a>\u003c/em>, at the Brava Theatre went on sale weeks ago and are gone, except for a handful reserved for San Francisco Film Society members. Your best bet is to call your friendly neighborhood scalper.\u003c/p>\n\u003cp>What do you get when you pair the second coming of New York synth-poppers Cibo Matto with the kicky visuals of animated shorts and the 1970-filmed performance of Oskar Schlemmer’s \u003cem>Triadic Ballet\u003c/em>? \u003ca href=\"http://www.sffs.org/sfiff58/program/cibo-matto-new-scene\" target=\"_blank\" rel=\"noopener\">One buzzy show\u003c/a> (May 5 at the Castro). \u003cstrong>SFIFF’s\u003c/strong> long-running and often-inspired scheme of commissioning contemporary musicians to accompany silent films is one of the fest’s most popular events.\u003c/p>\n\u003cfigure id=\"attachment_10519046\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb.jpg\" alt=\"Kronos Quartet, Beyond Zero: 1914-1918 (Photo by Lenny Gonzalez, Courtesy of the Kronos Quartet)\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/14_4.6_Kronos_0044B_thumb-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet,\u003cbr>\u003ci>Beyond Zero: 1914-1918\u003c/i> (Photo by Lenny Gonzalez, Courtesy of the Kronos Quartet)\u003c/figcaption>\u003c/figure>\n\u003cp>On a more melancholy note, Kronos Quartet and Bill Morrison, the master of decayed 35mm film, mark the centennial of World War I with \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/kronos-quartet-beyond-zero-1914-1918\" target=\"_blank\" rel=\"noopener\">Beyond Zero: 1914-1918\u003c/a>\u003c/em> (May 6 at the Sundance Kabuki). Ancient, flickering visuals and minor-chord movements evoke the long-gone soldiers and the timeless futility of war.\u003c/p>\n\u003cp>Against the odds, Richard Gere evolved from an impossibly handsome clotheshorse to an actor of gravitas and integrity. Yes, and every single one of his \u003cem>Pretty Woman\u003c/em> fans will pack the Castro on Apr. 26 for his onstage interview and \u003ca href=\"http://www.sffs.org/sfiff58/program/peter-j-owens-award-richard-gere-time-out-of-mind\" target=\"_blank\" rel=\"noopener\">Peter J. Owens Award\u003c/a> acceptance speech. For dessert, there’s Gere’s weighty turn as a homeless man in \u003cem>Time Out of Mind\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10519041\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01.jpg\" alt=\"Guillermo del Toro (Courtesy of the San Francisco Film Society)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SFIFF58_del_Toro_01-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo del Toro (Courtesy of the San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>The Mexican filmmakers Alfonso Cuarón and Alejandro González Iñárritu won the last two Oscars for directing, and it would surprise no one to see their close friend and countryman Guillermo del Toro hoisting the gold statue one day. Until then, del Toro’s greatest admirers are the \u003cem>Hellboy\u003c/em> fans who can’t wait to see him receive the \u003ca href=\"http://www.sffs.org/sfiff58/program/irving-m-levin-directing-award-an-evening-with-guillermo-del-toro\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award\u003c/a> and introduce his Spanish Civil War chiller from 2001, \u003cem>The Devil’s Backbone\u003c/em> (Apr. 25).\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>Douglas Trumbull is an inventor and futurist whose talent and ambition extends beyond innovative visual effects for movies like \u003cem>The Andromeda Strain\u003c/em> and \u003cem>Blade Runner\u003c/em>. Whether he discusses big-picture concepts or trivial technical tricks in his \u003ca href=\"http://www.sffs.org/sfiff58/program/state-of-cinema-address-douglas-trumbull\" target=\"_blank\" rel=\"noopener\">State of Cinema address\u003c/a>, the offspring of the \u003cem>Star Wars\u003c/em> generation will fill the house.\u003c/p>\n\u003cfigure id=\"attachment_10520347\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10520347\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01.jpg\" alt=\"A scene from Jason Zeldes' Romeo is Bleeding (Courtesy of the San Francisco Film Society)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Romeo_is_Bleeding_01-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Jason Zeldes’ \u003ci>Romeo is Bleeding\u003c/i> (Courtesy of the San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>Aiming to turn a certain number of screenings into events, the festival has arranged special guests for post-film discussions. If the extraordinary local history revived in Stanley Nelson’s documentary, \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/the-black-panthers-vanguard-of-the-revolution\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/em>, isn’t enough to pack the room, the panel of former Panthers will do it.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/romeo-is-bleeding\" target=\"_blank\" rel=\"noopener\">Romeo Is Bleeding\u003c/a>\u003c/em>, Jason Zeldes’ documentary about local poet Donte Clark’s staging of Romeo and Juliet with African American teenagers in Richmond, may be more relevant to high school students than the Panthers’ goals and struggles. The world premiere at El Cerrito High will be a raucous affair, but the screenings at the festival should be pretty electric, too.\u003c/p>\n\u003cfigure id=\"attachment_10519044\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519044\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/15325-3-1100.jpg\" alt=\"Jonathan Gold in City of Gold (Courtesy of the Sundance Institute)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/15325-3-1100.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/15325-3-1100-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/15325-3-1100-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Gold in \u003ci>City of Gold\u003c/i> (Courtesy of the Sundance Institute)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to handicap which documentary portrait of a colorful character will emerge as a word-of-mouth favorite, but I’m leaning toward \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/city-of-gold\" target=\"_blank\" rel=\"noopener\">City of Gold\u003c/a>\u003c/em>, Laura Gabbert’s profile of eccentric Los Angeles food critic Jonathan Gold. (San Francisco is chock-a-block with food enthusiasts, after all.) Runner-up: \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/iris\" target=\"_blank\" rel=\"noopener\">Iris\u003c/a>\u003c/em>, the last completed film by the recently departed Albert Maysles, is a humanistic study of an unlikely, 90-something New York fashion icon. Both films will open theatrically, but their obvious pleasures assure sellouts at the \u003cstrong>SFIFF\u003c/strong>.\u003c/p>\n\u003cp>The charm and lineage of actress Isabella Rosselini, a former model and the daughter of movie greats Ingrid Bergman and Roberto Rossellini, will attract adoring crowds to the world premiere of \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/isabella-rossellini%E2%80%99s-green-porno-live\" target=\"_blank\" rel=\"noopener\">Isabella Rossellini’s Green Porno Live!\u003c/a>\u003c/em> This entertaining documentary presents her touring monologue about the sex lives of animals, birds, fish and insects, augmented with scenes from her endearing \u003cem>Green Porno\u003c/em> short films.\u003c/p>\n\u003cp>Finally, I’ll make a long-shot guess that \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/theory-of-obscurity-a-film-about-the-residents\" target=\"_blank\" rel=\"noopener\">Theory of Obscurity: A Film about the Residents\u003c/a>\u003c/em> will draw the remaining survivors and devotees of San Francisco’s once-thriving alternative and underground performance scene, along with the current wave of art-school students and nascent conceptual artists. (If that sounds like a variation of \u003cem>The Walking Dead\u003c/em>, I hear you. Maybe you’d like to join me just to see who shows up.) Certainly the Residents fit comfortably with so many others in the \u003cstrong>SFIFF\u003c/strong> — Bill Morrison, Guillermo del Toro, Douglas Trumbull, the Black Panthers, Jonathan Gold, Iris Apfel — who resist compromise and constraint.\u003c/p>\n\u003cfigure id=\"attachment_10519042\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10519042\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01.jpg\" alt=\"Still from Alex Gibney's Steve Jobs: The Man in the Machine (Courtesy of the San Francisco Film Society)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Steve_Jobs_The_Man_in_the_Machine_01-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Alex Gibney’s \u003ci>Steve Jobs: The Man in the Machine\u003c/i> (Courtesy of the San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, opening night (\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/steve-jobs-the-man-in-the-machine\" target=\"_blank\" rel=\"noopener\">Steve Jobs: The Man in the Machine\u003c/a>\u003c/em> by the prolific, prosaic documentary maker Alex Gibney) and closing night (\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/experimenter\" target=\"_blank\" rel=\"noopener\">Experimenter\u003c/a>\u003c/em>, starring Peter Sarsgaard as the infamous 1960s social psychologist Stanley Milgram) will fill with festival sponsors, donors and fans of good parties. The latter group, plus anyone nostalgic for disco, will hustle to the director’s cut of \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/54-the-director%E2%80%99s-cut\" target=\"_blank\" rel=\"noopener\">54\u003c/a>\u003c/em> (1998) with Ryan Philippe on hand. \u003ca href=\"http://www.sffs.org/sfiff58/program/an-evening-with-nonny-de-la-pe%C3%B1a-immersive-journalism\" target=\"_blank\" rel=\"noopener\">Nonny de la Pena\u003c/a>, who combines real life scenarios and virtual reality paraphernalia into “immersive journalism,” will be a popular draw given the large numbers of documentary filmmakers and technology acolytes (from video games to phone apps and beyond) hereabouts. Finally, a couple more docs that just might make waves at the box office are Liz Garbus’ \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/what-happened-miss-simone\" target=\"_blank\" rel=\"noopener\">What Happened, Miss Simone?\u003c/a>\u003c/em> (about singer-activist Nina Simone) and \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/the-look-of-silence\" target=\"_blank\" rel=\"noopener\">The Look of Silence\u003c/a>\u003c/em>, Joshua Oppenheimer’s follow-up to Oscar-nominee \u003cem>The Act of Killing\u003c/em>, which focuses on the victims (rather than the perpetrators) of the Indonesian slaughter. Happy shopping!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cstrong>San Francisco International Film Festival\u003c/strong> runs April 23 – May 7, 2015. For \u003ca href=\"http://www.sffs.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10509076/the-ten-toughest-tickets-at-sfiff",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10520343",
"label": "arts_140"
},
"arts_10507350": {
"type": "posts",
"id": "arts_10507350",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10507350",
"score": null,
"sort": [
1427814023000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1427814023,
"format": "standard",
"title": "Five to Watch: In Film this Month, the Spirit Sings",
"headTitle": "Five to Watch: In Film this Month, the Spirit Sings | KQED",
"content": "\u003cp>April brings the big kahuna of the annual Bay Area film calendar, the \u003cstrong>San Francisco International Film Festival\u003c/strong> (April 23-May 7). Between the public excitement over the arrivals of movie stars (Richard Gere, Miranda July and Guillermo del Toro are among those announced before the full lineup goes public today) and the cognoscenti’s anticipation for under-the-radar art films from the Venice and Sundance fests, there’s not a lot of oxygen for all the other silver-screen offerings this month. Too bad, because much of April teems with mood-raising movies replete with musical improvisation, poetic abstraction, social progress, spiritual elevation and expressive animation. Spring ahead, indeed.\u003c/p>\n\u003cfigure id=\"attachment_10518065\" class=\"wp-caption alignright\" style=\"max-width: 422px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10518065 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman.jpg\" alt=\"Sound of Redemption: The Frank Morgan Story, photograph circa 1992; (Courtesy of James Gudeman)\" width=\"422\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman.jpg 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman-320x485.jpg 320w\" sizes=\"(max-width: 422px) 100vw, 422px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sound of Redemption: The Frank Morgan Story\u003c/i>, photograph circa 1992 (Courtesy of James Gudeman)\u003c/figcaption>\u003c/figure>\n\u003cp>Few things in this world are as liberated as the unchained melodies of top-flight jazz improvisers. Yet a disproportionate number of jazz musicians suffer for their art on account of racism, commercial apathy or drug addiction. \u003cstrong>The Cry of Jazz: New Documentaries\u003c/strong>, a fascinating series running Apr. 2 – 23 at Yerba Buena Center for the Arts, reintroduces us to New Orleans pianist James Booker (\u003cem>Bayou Maharajah\u003c/em>, Apr. 2), alto saxophonist Frank Morgan (\u003cem>Sound of Redemption: The Frank Morgan Story\u003c/em>, Apr. 9 and 11), genius multi-instrumentalist Rahsaan Roland Kirk (\u003cem>The Case of the Three Sided Dream\u003c/em>, Apr. 16) and percussionist and composer Kahil El’Zabar (\u003cem>Be Known\u003c/em>, Apr. 18). Manfred Kirchheimer’s rediscovered and restored \u003cem>Stations of the Elevated\u003c/em> (Apr. 23), a 1981 marriage of Charles Mingus’ free jazz and New York City graffiti, provides the capper. Take the ‘A’ train, or any train, to the bluesy, soulful side of town. For \u003ca href=\"http://www.ybca.org/cry-of-jazz\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10518066\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10518066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Scheherazade.jpg\" alt=\"Still from Scheherazade's Diary (Courtesy of Human Rights Watch Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Scheherazade.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Scheherazade-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Scheherazade-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Scheherazade’s Diary\u003c/i> (Courtesy of Human Rights Watch Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Depending on whether you’re a glass-half-full type or not, a human rights film festival is a compendium of the world’s woes or a travelogue of justice on the rise. The University of San Francisco’s 13th annual \u003cstrong>Human Rights Film Festival\u003c/strong> (Apr. 9-11) touches both bases, from an exposé of the corruption that accompanies oil drilling in Nigeria and Ghana (\u003cem>Big Men\u003c/em>) to a theater project in a Lebanese prison that allows women to reclaim their stories and identities (\u003cem>Scheherazade’s Diary\u003c/em>). A pair of programs showcasing shorts by USF students and alumni augment the feature documentaries culled from the Human Rights Watch Traveling Film Festival and other sources. For \u003ca href=\"http://www.usfca.edu/artsci/hrff/program/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit usfca.edu/artsci/hrff.\u003c/p>\n\u003cfigure id=\"attachment_10518067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10518067 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Hypnosis1.jpg\" alt=\"Still from Hypnosis Display (Courtesy of SF Cinematheque)\" width=\"640\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Hypnosis1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Hypnosis1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Hypnosis1-320x234.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Paul Clipson, \u003ci>Hypnosis Display\u003c/i> (Courtesy of SF Cinematheque)\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t need to have the soul of a poet to enjoy experimental film. You do, however, have to let go of the usual urge to intellectualize, understand and explain. Impressions replace narratives; beauty supplants meaning. Just as a saxophone solo isn’t a burst of random notes, an avant-garde film contains rhythm, motifs and torrents of unexpected pleasure. \u003cstrong>Crossroads\u003c/strong>, San Francisco Cinematheque’s annual blowout of new work by the best filmmakers working in this restlessly innovative and perennially overlooked genre, turns the Victoria Theatre into the trippiest spot in town Apr. 10-12. Paul Clipson’s \u003cem>Hypnosis Display\u003c/em> receives its local premiere opening night with Liz Harris of Grouper performing the soundtrack. Or pick any of the beautifully curated programs of shorts, like the ones that feature the entrancing multiple-projector works of Berlin’s Ojoboca or Karissa Hahn’s enigmatic vignettes of domestic confinement and (possible) escape. If you think San Francisco has been scrubbed of raw artistic impulse and unique personal expressions, the Mission is the place to be this weekend. For \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2015-april-10-12/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cfigure id=\"attachment_10518074\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10518074 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/PaintingPeace.jpg\" alt=\"\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PaintingPeace.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PaintingPeace-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PaintingPeace-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Painting Peace\u003c/i> (Courtesy of International Buddhist Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Being transported out of your mind for a while is one path to enlightenment. Another is spending an hour and a half in another person’s consciousness. The world premiere of \u003cem>Painting Peace\u003c/em> (Apr. 11), Dutch filmmaker Babeth VanLoo’s portrait of Berkeley calligrapher, translator and Zen teacher Kazuaki Tanahashi, has the potential to turn heads around. It screens in the \u003cstrong>International Buddhist Film Festival 2015 Bay Area\u003c/strong> (Apr. 10–16 at the Smith Rafael Film Center in San Rafael), which is filled with movies from here and yon, including several other world premieres, that have the gentle power to cure you of cracking “only in Marin” jokes. Enlightenment starts with small steps. For \u003ca href=\"http://www.buddhistfilmfoundation.org/events/ibff-2015-bay-area-full-schedule/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit buddhistfilmfoundation.org.\u003c/p>\n\u003cfigure id=\"attachment_10527578\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Lye.jpg\" alt=\"A still from Len Lye's A Colour Box. (Courtesy of Other Cinema)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10527578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lye.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lye-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lye-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A still from Len Lye’s \u003ci>A Colour Box\u003c/i>. (Courtesy of Other Cinema)\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, everybody rightfully acknowledges the subversive strains in Max Fleischer and Chuck Jones cartoons. Younger viewers cite \u003cem>The Simpsons\u003c/em> and the Pixar movies. But where can you see original and even radical animated films that aren’t created by committee or rated PG? At the Other Cinema’s \u003cstrong>Stereo-Scopophilia\u003c/strong> program on Apr. 18, where avant-garde stars Rodney Ascher, Lewis Klahr and Kelly Sears screen alongside mid-twentieth-century masters Len Lye (of New Zealand) and Oskar Fischinger (of Germany). The increasing use of animation in documentaries, as described by critic Jeffrey Skoller and illustrated by the fearless, playful works of Chris Marker and Martha Colburn (among others), is the theme of an equally provocative program the following Saturday (Apr. 25). The truth is far out there. For \u003ca href=\"http://www.othercinema.com/calendar/index.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 916,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705047364,
"excerpt": "April’s movies take us on the high road of musical improvisation, poetic abstraction, social progress, spiritual elevation and out-there animation.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "April’s movies take us on the high road of musical improvisation, poetic abstraction, social progress, spiritual elevation and out-there animation.",
"title": "Five to Watch: In Film this Month, the Spirit Sings | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five to Watch: In Film this Month, the Spirit Sings",
"datePublished": "2015-03-31T08:00:23-07:00",
"dateModified": "2024-01-12T00:16:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-to-watch-in-film-this-month-the-spirit-sings",
"status": "publish",
"sticky": false,
"path": "/arts/10507350/five-to-watch-in-film-this-month-the-spirit-sings",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>April brings the big kahuna of the annual Bay Area film calendar, the \u003cstrong>San Francisco International Film Festival\u003c/strong> (April 23-May 7). Between the public excitement over the arrivals of movie stars (Richard Gere, Miranda July and Guillermo del Toro are among those announced before the full lineup goes public today) and the cognoscenti’s anticipation for under-the-radar art films from the Venice and Sundance fests, there’s not a lot of oxygen for all the other silver-screen offerings this month. Too bad, because much of April teems with mood-raising movies replete with musical improvisation, poetic abstraction, social progress, spiritual elevation and expressive animation. Spring ahead, indeed.\u003c/p>\n\u003cfigure id=\"attachment_10518065\" class=\"wp-caption alignright\" style=\"max-width: 422px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10518065 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman.jpg\" alt=\"Sound of Redemption: The Frank Morgan Story, photograph circa 1992; (Courtesy of James Gudeman)\" width=\"422\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman.jpg 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sound-of-Redemption-The-Frank-Morgan-Story-by-N.C.-Heikin-portrait-of-Frank-Morgan-playing-circa-1992-credit-courtesy-James-Gudeman-320x485.jpg 320w\" sizes=\"(max-width: 422px) 100vw, 422px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sound of Redemption: The Frank Morgan Story\u003c/i>, photograph circa 1992 (Courtesy of James Gudeman)\u003c/figcaption>\u003c/figure>\n\u003cp>Few things in this world are as liberated as the unchained melodies of top-flight jazz improvisers. Yet a disproportionate number of jazz musicians suffer for their art on account of racism, commercial apathy or drug addiction. \u003cstrong>The Cry of Jazz: New Documentaries\u003c/strong>, a fascinating series running Apr. 2 – 23 at Yerba Buena Center for the Arts, reintroduces us to New Orleans pianist James Booker (\u003cem>Bayou Maharajah\u003c/em>, Apr. 2), alto saxophonist Frank Morgan (\u003cem>Sound of Redemption: The Frank Morgan Story\u003c/em>, Apr. 9 and 11), genius multi-instrumentalist Rahsaan Roland Kirk (\u003cem>The Case of the Three Sided Dream\u003c/em>, Apr. 16) and percussionist and composer Kahil El’Zabar (\u003cem>Be Known\u003c/em>, Apr. 18). Manfred Kirchheimer’s rediscovered and restored \u003cem>Stations of the Elevated\u003c/em> (Apr. 23), a 1981 marriage of Charles Mingus’ free jazz and New York City graffiti, provides the capper. Take the ‘A’ train, or any train, to the bluesy, soulful side of town. For \u003ca href=\"http://www.ybca.org/cry-of-jazz\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10518066\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10518066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Scheherazade.jpg\" alt=\"Still from Scheherazade's Diary (Courtesy of Human Rights Watch Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Scheherazade.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Scheherazade-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Scheherazade-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Scheherazade’s Diary\u003c/i> (Courtesy of Human Rights Watch Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Depending on whether you’re a glass-half-full type or not, a human rights film festival is a compendium of the world’s woes or a travelogue of justice on the rise. The University of San Francisco’s 13th annual \u003cstrong>Human Rights Film Festival\u003c/strong> (Apr. 9-11) touches both bases, from an exposé of the corruption that accompanies oil drilling in Nigeria and Ghana (\u003cem>Big Men\u003c/em>) to a theater project in a Lebanese prison that allows women to reclaim their stories and identities (\u003cem>Scheherazade’s Diary\u003c/em>). A pair of programs showcasing shorts by USF students and alumni augment the feature documentaries culled from the Human Rights Watch Traveling Film Festival and other sources. For \u003ca href=\"http://www.usfca.edu/artsci/hrff/program/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit usfca.edu/artsci/hrff.\u003c/p>\n\u003cfigure id=\"attachment_10518067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10518067 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Hypnosis1.jpg\" alt=\"Still from Hypnosis Display (Courtesy of SF Cinematheque)\" width=\"640\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Hypnosis1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Hypnosis1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Hypnosis1-320x234.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Paul Clipson, \u003ci>Hypnosis Display\u003c/i> (Courtesy of SF Cinematheque)\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t need to have the soul of a poet to enjoy experimental film. You do, however, have to let go of the usual urge to intellectualize, understand and explain. Impressions replace narratives; beauty supplants meaning. Just as a saxophone solo isn’t a burst of random notes, an avant-garde film contains rhythm, motifs and torrents of unexpected pleasure. \u003cstrong>Crossroads\u003c/strong>, San Francisco Cinematheque’s annual blowout of new work by the best filmmakers working in this restlessly innovative and perennially overlooked genre, turns the Victoria Theatre into the trippiest spot in town Apr. 10-12. Paul Clipson’s \u003cem>Hypnosis Display\u003c/em> receives its local premiere opening night with Liz Harris of Grouper performing the soundtrack. Or pick any of the beautifully curated programs of shorts, like the ones that feature the entrancing multiple-projector works of Berlin’s Ojoboca or Karissa Hahn’s enigmatic vignettes of domestic confinement and (possible) escape. If you think San Francisco has been scrubbed of raw artistic impulse and unique personal expressions, the Mission is the place to be this weekend. For \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2015-april-10-12/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cfigure id=\"attachment_10518074\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10518074 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/PaintingPeace.jpg\" alt=\"\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PaintingPeace.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PaintingPeace-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PaintingPeace-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Painting Peace\u003c/i> (Courtesy of International Buddhist Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Being transported out of your mind for a while is one path to enlightenment. Another is spending an hour and a half in another person’s consciousness. The world premiere of \u003cem>Painting Peace\u003c/em> (Apr. 11), Dutch filmmaker Babeth VanLoo’s portrait of Berkeley calligrapher, translator and Zen teacher Kazuaki Tanahashi, has the potential to turn heads around. It screens in the \u003cstrong>International Buddhist Film Festival 2015 Bay Area\u003c/strong> (Apr. 10–16 at the Smith Rafael Film Center in San Rafael), which is filled with movies from here and yon, including several other world premieres, that have the gentle power to cure you of cracking “only in Marin” jokes. Enlightenment starts with small steps. For \u003ca href=\"http://www.buddhistfilmfoundation.org/events/ibff-2015-bay-area-full-schedule/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit buddhistfilmfoundation.org.\u003c/p>\n\u003cfigure id=\"attachment_10527578\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Lye.jpg\" alt=\"A still from Len Lye's A Colour Box. (Courtesy of Other Cinema)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10527578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lye.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lye-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lye-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A still from Len Lye’s \u003ci>A Colour Box\u003c/i>. (Courtesy of Other Cinema)\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, everybody rightfully acknowledges the subversive strains in Max Fleischer and Chuck Jones cartoons. Younger viewers cite \u003cem>The Simpsons\u003c/em> and the Pixar movies. But where can you see original and even radical animated films that aren’t created by committee or rated PG? At the Other Cinema’s \u003cstrong>Stereo-Scopophilia\u003c/strong> program on Apr. 18, where avant-garde stars Rodney Ascher, Lewis Klahr and Kelly Sears screen alongside mid-twentieth-century masters Len Lye (of New Zealand) and Oskar Fischinger (of Germany). The increasing use of animation in documentaries, as described by critic Jeffrey Skoller and illustrated by the fearless, playful works of Chris Marker and Martha Colburn (among others), is the theme of an equally provocative program the following Saturday (Apr. 25). The truth is far out there. For \u003ca href=\"http://www.othercinema.com/calendar/index.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit othercinema.com.\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/10507350/five-to-watch-in-film-this-month-the-spirit-sings",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"featImg": "arts_10518063",
"label": "arts_140"
},
"arts_10479829": {
"type": "posts",
"id": "arts_10479829",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10479829",
"score": null,
"sort": [
1426626938000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1426626938,
"format": "standard",
"title": "Lost Weekend Video, 1-2-3-4 Go! Records to Partner on Valencia",
"headTitle": "Lost Weekend Video, 1-2-3-4 Go! Records to Partner on Valencia | KQED",
"content": "\u003cp>Earlier this month, Oakland’s 40th Street vinyl outpost 1-2-3-4 Go! Records \u003ca href=\"http://1234gorecords.com/news/2015/3/5/san-francisco-location-coming-in-april\" target=\"_blank\" rel=\"noopener\">cryptically announced a forthcoming San Francisco location\u003c/a> — with no address given — but now it can be told: that address will be shared with Lost Weekend Video, the Valencia Street video rental store and all-around beloved community hub.\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.lostweekendvideo.com/lost-weekend-project-overview\" target=\"_blank\" rel=\"noopener\">announcement on their site\u003c/a> Tuesday, Lost Weekend explained that while it faced near-certain closure on May 1 due to a rent increase in February, “We’ve talked to surviving stores across the country to learn what has worked best for them and after adding a few of our own innovations, we’ve come up with a new model for a now 21st Century video store.”\u003c/p>\n\u003cp>That involves a relaunch of the Valencia Street store in partnership with 1-2-3-4 Go! on April 18, when the two join as a combination video store / record store. It also means a searchable catalog online of Lost Weekend’s films; home delivery services; memberships and other 21st-century changes on operations. Lastly, it calls for an East Bay opening of the \u003ca href=\"http://www.lostweekendvideo.com/cinecavecomedy/\" target=\"_blank\" rel=\"noopener\">the Cinecave\u003c/a>, the comedy club booked by \u003ca href=\"http://www.sfweekly.com/shookdown/2015/03/09/music-heroes-george-chen\" target=\"_blank\" rel=\"noopener\">the tireless George Chen\u003c/a> currently running in Lost Weekend’s basement; the Cinecave’s location in Oakland’s Uptown neighborhood promises “a carefully curated video rental store, with full access to our combined collection on both sides of the Bay, and a film-themed beer & wine bar” — with live comedy and entertainment seven nights a week.\u003c/p>\n\u003cp>Naturally, like so many other community institutions in peril, Lost Weekend is \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video\" target=\"_blank\" rel=\"noopener\">asking for help\u003c/a>. But as the Voltron-like forces combine with dueling photobooths and copies of \u003cem>The Bad News Bears\u003c/em> alongside \u003cem>24 Hour Revenge Therapy\u003c/em>, things are looking a little sunnier on Lost Weekend’s side of the street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 317,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705047419,
"excerpt": "Recently facing imminent closure, Mission District institution Lost Weekend Video announces an April 18 relauch with 1-2-3-4 Go! as a combination video rental / vinyl outlet.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Recently facing imminent closure, Mission District institution Lost Weekend Video announces an April 18 relauch with 1-2-3-4 Go! as a combination video rental / vinyl outlet.",
"title": "Lost Weekend Video, 1-2-3-4 Go! Records to Partner on Valencia | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lost Weekend Video, 1-2-3-4 Go! Records to Partner on Valencia",
"datePublished": "2015-03-17T14:15:38-07:00",
"dateModified": "2024-01-12T00:16:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lost-weekend-video-1-2-3-4-go-records-to-partner-up",
"status": "publish",
"sticky": false,
"nprStoryId": "463218364",
"path": "/arts/10479829/lost-weekend-video-1-2-3-4-go-records-to-partner-up",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, Oakland’s 40th Street vinyl outpost 1-2-3-4 Go! Records \u003ca href=\"http://1234gorecords.com/news/2015/3/5/san-francisco-location-coming-in-april\" target=\"_blank\" rel=\"noopener\">cryptically announced a forthcoming San Francisco location\u003c/a> — with no address given — but now it can be told: that address will be shared with Lost Weekend Video, the Valencia Street video rental store and all-around beloved community hub.\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.lostweekendvideo.com/lost-weekend-project-overview\" target=\"_blank\" rel=\"noopener\">announcement on their site\u003c/a> Tuesday, Lost Weekend explained that while it faced near-certain closure on May 1 due to a rent increase in February, “We’ve talked to surviving stores across the country to learn what has worked best for them and after adding a few of our own innovations, we’ve come up with a new model for a now 21st Century video store.”\u003c/p>\n\u003cp>That involves a relaunch of the Valencia Street store in partnership with 1-2-3-4 Go! on April 18, when the two join as a combination video store / record store. It also means a searchable catalog online of Lost Weekend’s films; home delivery services; memberships and other 21st-century changes on operations. Lastly, it calls for an East Bay opening of the \u003ca href=\"http://www.lostweekendvideo.com/cinecavecomedy/\" target=\"_blank\" rel=\"noopener\">the Cinecave\u003c/a>, the comedy club booked by \u003ca href=\"http://www.sfweekly.com/shookdown/2015/03/09/music-heroes-george-chen\" target=\"_blank\" rel=\"noopener\">the tireless George Chen\u003c/a> currently running in Lost Weekend’s basement; the Cinecave’s location in Oakland’s Uptown neighborhood promises “a carefully curated video rental store, with full access to our combined collection on both sides of the Bay, and a film-themed beer & wine bar” — with live comedy and entertainment seven nights a week.\u003c/p>\n\u003cp>Naturally, like so many other community institutions in peril, Lost Weekend is \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video\" target=\"_blank\" rel=\"noopener\">asking for help\u003c/a>. But as the Voltron-like forces combine with dueling photobooths and copies of \u003cem>The Bad News Bears\u003c/em> alongside \u003cem>24 Hour Revenge Therapy\u003c/em>, things are looking a little sunnier on Lost Weekend’s side of the street.\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/10479829/lost-weekend-video-1-2-3-4-go-records-to-partner-up",
"authors": [
"185"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_596"
],
"featImg": "arts_10479831",
"label": "arts"
},
"arts_10464714": {
"type": "posts",
"id": "arts_10464714",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10464714",
"score": null,
"sort": [
1426212015000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1426212015,
"format": "audio",
"title": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock",
"headTitle": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock | 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\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/20150313tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg\" alt=\"John Jorgenson Quintet\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10464855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Esprit de Django et Stephane Gypsy Jazz Festival\u003c/h3>\n\u003cp>Here’s a two-day event celebrating the legacy of the 1930s’ Paris-based duo, Django Reinhardt and Stéphane Grappelli, who revolutionized jazz by introducing lively strings to counteract the laid-back big-band sound that was popular at the time. Free events like busking and belly dancing are interspersed with performances by the Leftover Cuties, Tin Hat, the John Jorgenson Quintet (pictured at right) on Saturday; followed by Beso, George Cole Quintet, Mr. Sun, and Vaud & the Villains on Sunday. Purchase single show tickets or Saturday and Sunday passes for the showcases that start in the afternoon and go well into the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/esprit-de-django-et-stephane-festival-gypsy-jazz-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg\" alt=\"Munro\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10403045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">Stories by Alice Munro\u003c/h3>\n\u003cp>Z Space and Word for Word Performing Arts Company present a double feature of plays based on the short stories of eminent Canadian author and 2013 Nobel Prize winner Alice Munro. “The Office” centers on a fledgling writer who determines that she needs her own office to succeed, before facing an obstacle from her landlord. In “Dolly,” an elderly couple struggles with the reemergence of one of the husband’s old lovers. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stories-by-alice-munro/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg\" alt=\"The Lake Effect\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10428541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Lake Effect\u003c/h3>\n\u003cp>The Bay Area can’t get enough of playwright Rajiv Joseph, from his Glickman Award-winning two-person high school suspense thriller \u003cem>The North Pool\u003c/em> at TheatreWorks to the sprawling and grim Iraq War fantasia \u003cem>Bengal Tiger at the Iraq Zoo\u003c/em> at San Francisco Playhouse. Now Joseph’s back with \u003cem>The Lake Effect\u003c/em>, in which an estranged brother and sister reunite in their late father’s Indian restaurant in Cleveland. When their dad’s former gambling bookie shows up, the sibs find out how little they knew about their own family. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-lake-effect/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg\" alt=\"Killing Fields of Dr. Hang S. Ngor\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10446100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields.jpg 1426w\" sizes=\"(max-width: 400px) 100vw, 400px\">CAAMFest\u003c/h3>\n\u003cp>Along with discoveries from all over, the Bay Area’s preeminent Asian-American film (and food and music) festival spotlights former and current Bay Area filmmakers. Arthur Dong presents the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> and his re-mastered 1989 excavation of local Chinese-American history, \u003cem>Forbidden City, USA\u003c/em>. Academy Award-winner Ruby Yang follows underprivileged Hong Kong students mounting a musical in \u003cem>My Voice My Life\u003c/em>, and reprises her 2009 study of movie theaters in San Francisco’s Chinatown, \u003cem>A Moment in Time\u003c/em>. In \u003cem>Chinese Couplets\u003c/em>, Felicia Lowe bravely explores her mother’s experiences as an adult in America and a child in China. As they say, all history is personal. \u003ca href=\"http://ww2.kqed.org/events/pick/caamfest-2015/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg\" alt=\"Robyn Hitchcock\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10462424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">Robyn Hitchcock\u003c/h3>\n\u003cp>From his 1970s work fronting the Soft Boys to his classic 1984 album \u003cem>I Often Dream of Trains\u003c/em>, Robyn Hitchcock appeared out of the gate as a wry, clever songwriter with a literate sensibility and approachable-yet-emotive voice. All too often, these types of promising songwriters fall into obscurity, or become caricatures of themselves, or recycle old folk and blues forms to death. Hitchcock, to the benefit of smart ears everywhere, has instead remained fiercely creative, as evidenced on his 2014 album \u003cem>The Man Upstairs\u003c/em> — which includes among its original songs unique covers of the Psychedelic Furs, Grant Lee Phillips, and Roxy Music. There’s even a version of “The Crystal Ship” by the Doors that, in Hitchcock’s hands, resurfaces all the mysticism and strangeness of hearing Jim Morrison for the first time. Hitchcock’s back catalog is hundreds deep, so there’s no telling what you might hear when he performs — but each show is rewarding, and special. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/robyn-hitchcock/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg\" alt=\"Kristin Hersh\" width=\"400\" height=\"228\" class=\"alignright size-thumbnail wp-image-10458736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-320x183.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Kristin Hersh\u003c/h3>\n\u003cp>Kristin Hersh, of Throwing Muses, performs a solo set at the Chapel in San Francisco. Hersh founded Throwing Muses with her stepsister while still in high school, before becoming a pioneering group in what would later be known as alternative rock. Following two breakups in the 1990s, the band reunited in 2004 and continues to tour. Hersh also founded 50 Foot Wave and has recorded solo material regularly since the early ’90s \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kristin-hersh/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg\" alt=\"Juliana Hatfield 3\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10458738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2.jpg 1401w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Juliana Hatfield Three\u003c/h3>\n\u003cp>Recently reformed after nearly twenty years, The Juliana Hatfield Three plays together at the Chapel in San Francisco. The trio was originally formed by Hatfield in 1992 following the breakup of college rock band Blake Babies. The Juliana Hatfield Three is most well known for their song “My Sister,” which topped the \u003cem>Billboard\u003c/em> Modern Rock Tracks chart in 1993. Their 2015 release, \u003cem>Whatever, My Love\u003c/em>, is the band’s first album since 1993. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-juliana-hatfield-three/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 817,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047433,
"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": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock",
"datePublished": "2015-03-12T19:00:15-07:00",
"dateModified": "2024-01-12T00:17:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "radio-show-gypsy-jazz-alice-munro-and-the-ghosts-of-indie-rock",
"status": "publish",
"sticky": false,
"path": "/arts/10464714/radio-show-gypsy-jazz-alice-munro-and-the-ghosts-of-indie-rock",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/20150313tdl.mp3",
"audioDuration": null,
"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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audioLink",
"attributes": {
"named": {
"src": "http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/20150313tdl.mp3"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg\" alt=\"John Jorgenson Quintet\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10464855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Esprit de Django et Stephane Gypsy Jazz Festival\u003c/h3>\n\u003cp>Here’s a two-day event celebrating the legacy of the 1930s’ Paris-based duo, Django Reinhardt and Stéphane Grappelli, who revolutionized jazz by introducing lively strings to counteract the laid-back big-band sound that was popular at the time. Free events like busking and belly dancing are interspersed with performances by the Leftover Cuties, Tin Hat, the John Jorgenson Quintet (pictured at right) on Saturday; followed by Beso, George Cole Quintet, Mr. Sun, and Vaud & the Villains on Sunday. Purchase single show tickets or Saturday and Sunday passes for the showcases that start in the afternoon and go well into the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/esprit-de-django-et-stephane-festival-gypsy-jazz-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg\" alt=\"Munro\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10403045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">Stories by Alice Munro\u003c/h3>\n\u003cp>Z Space and Word for Word Performing Arts Company present a double feature of plays based on the short stories of eminent Canadian author and 2013 Nobel Prize winner Alice Munro. “The Office” centers on a fledgling writer who determines that she needs her own office to succeed, before facing an obstacle from her landlord. In “Dolly,” an elderly couple struggles with the reemergence of one of the husband’s old lovers. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stories-by-alice-munro/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg\" alt=\"The Lake Effect\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10428541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Lake Effect\u003c/h3>\n\u003cp>The Bay Area can’t get enough of playwright Rajiv Joseph, from his Glickman Award-winning two-person high school suspense thriller \u003cem>The North Pool\u003c/em> at TheatreWorks to the sprawling and grim Iraq War fantasia \u003cem>Bengal Tiger at the Iraq Zoo\u003c/em> at San Francisco Playhouse. Now Joseph’s back with \u003cem>The Lake Effect\u003c/em>, in which an estranged brother and sister reunite in their late father’s Indian restaurant in Cleveland. When their dad’s former gambling bookie shows up, the sibs find out how little they knew about their own family. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-lake-effect/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg\" alt=\"Killing Fields of Dr. Hang S. Ngor\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10446100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields.jpg 1426w\" sizes=\"(max-width: 400px) 100vw, 400px\">CAAMFest\u003c/h3>\n\u003cp>Along with discoveries from all over, the Bay Area’s preeminent Asian-American film (and food and music) festival spotlights former and current Bay Area filmmakers. Arthur Dong presents the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> and his re-mastered 1989 excavation of local Chinese-American history, \u003cem>Forbidden City, USA\u003c/em>. Academy Award-winner Ruby Yang follows underprivileged Hong Kong students mounting a musical in \u003cem>My Voice My Life\u003c/em>, and reprises her 2009 study of movie theaters in San Francisco’s Chinatown, \u003cem>A Moment in Time\u003c/em>. In \u003cem>Chinese Couplets\u003c/em>, Felicia Lowe bravely explores her mother’s experiences as an adult in America and a child in China. As they say, all history is personal. \u003ca href=\"http://ww2.kqed.org/events/pick/caamfest-2015/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg\" alt=\"Robyn Hitchcock\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10462424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">Robyn Hitchcock\u003c/h3>\n\u003cp>From his 1970s work fronting the Soft Boys to his classic 1984 album \u003cem>I Often Dream of Trains\u003c/em>, Robyn Hitchcock appeared out of the gate as a wry, clever songwriter with a literate sensibility and approachable-yet-emotive voice. All too often, these types of promising songwriters fall into obscurity, or become caricatures of themselves, or recycle old folk and blues forms to death. Hitchcock, to the benefit of smart ears everywhere, has instead remained fiercely creative, as evidenced on his 2014 album \u003cem>The Man Upstairs\u003c/em> — which includes among its original songs unique covers of the Psychedelic Furs, Grant Lee Phillips, and Roxy Music. There’s even a version of “The Crystal Ship” by the Doors that, in Hitchcock’s hands, resurfaces all the mysticism and strangeness of hearing Jim Morrison for the first time. Hitchcock’s back catalog is hundreds deep, so there’s no telling what you might hear when he performs — but each show is rewarding, and special. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/robyn-hitchcock/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg\" alt=\"Kristin Hersh\" width=\"400\" height=\"228\" class=\"alignright size-thumbnail wp-image-10458736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-320x183.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Kristin Hersh\u003c/h3>\n\u003cp>Kristin Hersh, of Throwing Muses, performs a solo set at the Chapel in San Francisco. Hersh founded Throwing Muses with her stepsister while still in high school, before becoming a pioneering group in what would later be known as alternative rock. Following two breakups in the 1990s, the band reunited in 2004 and continues to tour. Hersh also founded 50 Foot Wave and has recorded solo material regularly since the early ’90s \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kristin-hersh/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg\" alt=\"Juliana Hatfield 3\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10458738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2.jpg 1401w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Juliana Hatfield Three\u003c/h3>\n\u003cp>Recently reformed after nearly twenty years, The Juliana Hatfield Three plays together at the Chapel in San Francisco. The trio was originally formed by Hatfield in 1992 following the breakup of college rock band Blake Babies. The Juliana Hatfield Three is most well known for their song “My Sister,” which topped the \u003cem>Billboard\u003c/em> Modern Rock Tracks chart in 1993. Their 2015 release, \u003cem>Whatever, My Love\u003c/em>, is the band’s first album since 1993. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-juliana-hatfield-three/\">Details and ticket information here\u003c/a>.\u003c/p>\n\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/10464714/radio-show-gypsy-jazz-alice-munro-and-the-ghosts-of-indie-rock",
"authors": [
"3215"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69",
"arts_967"
],
"tags": [
"arts_626"
],
"featImg": "arts_10464860",
"label": "arts_140"
},
"arts_10456206": {
"type": "posts",
"id": "arts_10456206",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10456206",
"score": null,
"sort": [
1426197644000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1426197644,
"format": "standard",
"title": "CAAMFest has Serious Fun with Evolving Identities in Film",
"headTitle": "CAAMFest has Serious Fun with Evolving Identities in Film | KQED",
"content": "\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/caamfest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>CAAMFest\u003c/h2>\n\u003cdiv class=\"event-desc\">Formerly the San Francisco International Asian American Film Festival.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 12–22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/caamfest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The marvelous thing about identity-oriented film festivals is they are perennially and intrinsically fresh. New films from all parts of the world provide a built-in mirror or window (depending on whether you identify with the core identity, or are outside looking in) into the various ways in which people see themselves within their countries, communities and families. CAAMFest, formerly called the San Francisco International Asian American Film Festival, necessarily encompasses a lot of territory, bridging borders, cultures and generations. In keeping with the themes of journeys and sight/image, we could call this preview a snapshot of a snapshot. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Chinese-Couplets_1.jpg\" alt=\"Chinese-Couplets_1\" width=\"229\" height=\"320\" class=\"alignleft size-full wp-image-10465235\">\u003c/p>\n\u003cp>Television producer and documentary filmmaker Felicia Lowe previously explored the suffering of Chinese immigrants at Angel Island in \u003cem>Carved in Silence\u003c/em> and her family’s roots in \u003cem>China: Land of My Father\u003c/em>. She continues digging into personal history in \u003cem>Chinese Couplets\u003c/em> (Mar. 14 and 21), a heavily narrated piece in which Lowe reconciles her lifelong disappointment in her late mother’s inability to nurture her with the painful, and to some degree, shameful events that defined her mother’s own childhood and beyond. \u003cem>Chinese Couplets\u003c/em> is a valuable reminder of the ways in which ordinary people are derailed and rerouted by larger forces, and the ongoing travails of refugees, but the film’s emotional impact is diluted by convoluted storytelling. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Partners-in-Crime_1.jpeg\" alt=\"Partners in Crime_1\" width=\"320\" height=\"214\" class=\"alignleft size-full wp-image-10465236\">\u003c/p>\n\u003cp>The slick, stylish and willfully disorienting Taiwanese drama \u003cem>Partners in Crime\u003c/em> (Mar. 13 and 16) continues CAAMFest’s long track record of reaching out to twenty-something moviegoers. Chang Jung-Chi’s second feature opens with a scene of bullying, followed by the seemingly unrelated discovery of a high school student’s body in an alley in an apparent suicide. The boys who find her set about uncovering what happened, punishing those responsible and trying desperately to puncture and escape the bubble of loneliness, confusion and apathy that defines their experience of high school. Teenage wasteland never looked so green, so lush and so besieged by text messages.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Off-the-Menu_1.jpeg\" alt=\"Off the Menu_1\" width=\"320\" height=\"180\" class=\"alignleft size-full wp-image-10465237\">\u003c/p>\n\u003cp>Missouri-born, L.A.-based indie filmmaker Grace Lee, a regular presence at CAAMFest, continues her pulse-taking of the Asian-American experience with \u003cem>Off the Menu\u003c/em> (Mar. 15). The one-hour documentary starts out as the kind of food-centric road trip that Anthony Bourdain and countless others have popularized, with Lee tracing the state of both assimilation and melting-pot cuisine through Texas’s Japanese-American sushi king (who cheerfully includes Chinese pot stickers in his product line) and a Chinese-American family business that offers tofu tamales alongside basic tofu cakes. But Lee digresses — to the Sikh temple in Wisconsin where a racist killed six members in 2012, and to father-daughter octopus harvesters in Hawaii — in ways that are interesting and rewarding (while broadening the definition of “Asian American” for those who live in less-diverse places than the Bay Area) but that also test the boundaries of the film’s ostensible focus. A coproduction of the festival’s parent, CAAM (Center for Asian American Media), and KQED, \u003cem>Off the Menu\u003c/em> is part of \u003ca href=\"http://caamfest.com/2015/section/caamfeast/\" target=\"_blank\" rel=\"noopener\">CAAMFeast\u003c/a>, a sidebar linking film and food. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/As-You-Were.jpeg\" alt=\"As You Were\" width=\"320\" height=\"214\" class=\"alignleft size-full wp-image-10465238\">\u003c/p>\n\u003cp>Liao Jiekai’s \u003cem>As You Were\u003c/em> (Mar. 15 and 19) is a languid and brooding tale of the end of a Singaporean affair in three enigmatic movements. Precisely photographed primarily on a largely unpopulated island, and rife with water metaphors, the film centers on a boy and girl who connect as children. The ephemeral bond between them is strong enough to draw them into romance as a couple decades later, but it’s not enough to sustain their relationship. The movie is curiously compelling, despite the consistently inexpressive acting and the director’s desire to pose a mystery and withhold clues. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/lastseason.jpg\" alt=\"lastseason\" width=\"320\" height=\"209\" class=\"alignleft size-full wp-image-10465239\">\u003c/p>\n\u003cp>Berkeley filmmaker Sara Dosa’s transporting debut documentary, \u003cem>The Last Season\u003c/em> (Mar. 13 and 18), debuted a year ago at the S.F. International Film Festival. Immersing the viewer in an Oregon forest during a single matsutake mushroom season, the film gradually and patiently reveals one revelatory fact after another about its under-the-radar characters. Its inclusion in CAAMFest, ahead of a fall theatrical release, invites us to view it not only as a saga of migrant workers and casualties of war but as a tangible, wholly unexpected yet somehow inevitable example of the entwined legacies of Americans and Southeast Asians. At its core, identity is an individual thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>CAAMFest runs March 12-22, 2015 in San Francisco, Berkeley and Oakland. \u003ca href=\"http://caamfest.com/2015/\" target=\"_blank\" rel=\"noopener\">Details and more information here\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 784,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705047435,
"excerpt": "Assimilation, alienation and experimentation highlight this Asian American film festival.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Assimilation, alienation and experimentation highlight this Asian American film festival.",
"title": "CAAMFest has Serious Fun with Evolving Identities in Film | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "CAAMFest has Serious Fun with Evolving Identities in Film",
"datePublished": "2015-03-12T15:00:44-07:00",
"dateModified": "2024-01-12T00:17:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "caamfest-has-serious-fun-with-evolving-identities-in-film",
"status": "publish",
"sticky": false,
"path": "/arts/10456206/caamfest-has-serious-fun-with-evolving-identities-in-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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/caamfest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>CAAMFest\u003c/h2>\n\u003cdiv class=\"event-desc\">Formerly the San Francisco International Asian American Film Festival.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 12–22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/caamfest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The marvelous thing about identity-oriented film festivals is they are perennially and intrinsically fresh. New films from all parts of the world provide a built-in mirror or window (depending on whether you identify with the core identity, or are outside looking in) into the various ways in which people see themselves within their countries, communities and families. CAAMFest, formerly called the San Francisco International Asian American Film Festival, necessarily encompasses a lot of territory, bridging borders, cultures and generations. In keeping with the themes of journeys and sight/image, we could call this preview a snapshot of a snapshot. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Chinese-Couplets_1.jpg\" alt=\"Chinese-Couplets_1\" width=\"229\" height=\"320\" class=\"alignleft size-full wp-image-10465235\">\u003c/p>\n\u003cp>Television producer and documentary filmmaker Felicia Lowe previously explored the suffering of Chinese immigrants at Angel Island in \u003cem>Carved in Silence\u003c/em> and her family’s roots in \u003cem>China: Land of My Father\u003c/em>. She continues digging into personal history in \u003cem>Chinese Couplets\u003c/em> (Mar. 14 and 21), a heavily narrated piece in which Lowe reconciles her lifelong disappointment in her late mother’s inability to nurture her with the painful, and to some degree, shameful events that defined her mother’s own childhood and beyond. \u003cem>Chinese Couplets\u003c/em> is a valuable reminder of the ways in which ordinary people are derailed and rerouted by larger forces, and the ongoing travails of refugees, but the film’s emotional impact is diluted by convoluted storytelling. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Partners-in-Crime_1.jpeg\" alt=\"Partners in Crime_1\" width=\"320\" height=\"214\" class=\"alignleft size-full wp-image-10465236\">\u003c/p>\n\u003cp>The slick, stylish and willfully disorienting Taiwanese drama \u003cem>Partners in Crime\u003c/em> (Mar. 13 and 16) continues CAAMFest’s long track record of reaching out to twenty-something moviegoers. Chang Jung-Chi’s second feature opens with a scene of bullying, followed by the seemingly unrelated discovery of a high school student’s body in an alley in an apparent suicide. The boys who find her set about uncovering what happened, punishing those responsible and trying desperately to puncture and escape the bubble of loneliness, confusion and apathy that defines their experience of high school. Teenage wasteland never looked so green, so lush and so besieged by text messages.\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>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Off-the-Menu_1.jpeg\" alt=\"Off the Menu_1\" width=\"320\" height=\"180\" class=\"alignleft size-full wp-image-10465237\">\u003c/p>\n\u003cp>Missouri-born, L.A.-based indie filmmaker Grace Lee, a regular presence at CAAMFest, continues her pulse-taking of the Asian-American experience with \u003cem>Off the Menu\u003c/em> (Mar. 15). The one-hour documentary starts out as the kind of food-centric road trip that Anthony Bourdain and countless others have popularized, with Lee tracing the state of both assimilation and melting-pot cuisine through Texas’s Japanese-American sushi king (who cheerfully includes Chinese pot stickers in his product line) and a Chinese-American family business that offers tofu tamales alongside basic tofu cakes. But Lee digresses — to the Sikh temple in Wisconsin where a racist killed six members in 2012, and to father-daughter octopus harvesters in Hawaii — in ways that are interesting and rewarding (while broadening the definition of “Asian American” for those who live in less-diverse places than the Bay Area) but that also test the boundaries of the film’s ostensible focus. A coproduction of the festival’s parent, CAAM (Center for Asian American Media), and KQED, \u003cem>Off the Menu\u003c/em> is part of \u003ca href=\"http://caamfest.com/2015/section/caamfeast/\" target=\"_blank\" rel=\"noopener\">CAAMFeast\u003c/a>, a sidebar linking film and food. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/As-You-Were.jpeg\" alt=\"As You Were\" width=\"320\" height=\"214\" class=\"alignleft size-full wp-image-10465238\">\u003c/p>\n\u003cp>Liao Jiekai’s \u003cem>As You Were\u003c/em> (Mar. 15 and 19) is a languid and brooding tale of the end of a Singaporean affair in three enigmatic movements. Precisely photographed primarily on a largely unpopulated island, and rife with water metaphors, the film centers on a boy and girl who connect as children. The ephemeral bond between them is strong enough to draw them into romance as a couple decades later, but it’s not enough to sustain their relationship. The movie is curiously compelling, despite the consistently inexpressive acting and the director’s desire to pose a mystery and withhold clues. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/lastseason.jpg\" alt=\"lastseason\" width=\"320\" height=\"209\" class=\"alignleft size-full wp-image-10465239\">\u003c/p>\n\u003cp>Berkeley filmmaker Sara Dosa’s transporting debut documentary, \u003cem>The Last Season\u003c/em> (Mar. 13 and 18), debuted a year ago at the S.F. International Film Festival. Immersing the viewer in an Oregon forest during a single matsutake mushroom season, the film gradually and patiently reveals one revelatory fact after another about its under-the-radar characters. Its inclusion in CAAMFest, ahead of a fall theatrical release, invites us to view it not only as a saga of migrant workers and casualties of war but as a tangible, wholly unexpected yet somehow inevitable example of the entwined legacies of Americans and Southeast Asians. At its core, identity is an individual thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>CAAMFest runs March 12-22, 2015 in San Francisco, Berkeley and Oakland. \u003ca href=\"http://caamfest.com/2015/\" target=\"_blank\" rel=\"noopener\">Details and more information here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10456206/caamfest-has-serious-fun-with-evolving-identities-in-film",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10465234",
"label": "arts_140"
},
"arts_10447650": {
"type": "posts",
"id": "arts_10447650",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10447650",
"score": null,
"sort": [
1425686454000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1425686454,
"format": "standard",
"title": "Keeping a Jewish Deli Tradition Alive",
"headTitle": "Keeping a Jewish Deli Tradition Alive | KQED",
"content": "\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/jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Deli Man’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary on Jewish delicatessens.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 6–12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Opera Plaza Cinemas\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deli-man/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-venue\">Rialto Cinemas Elmwood\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deli-man-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It is unwise to watch the new documentary \u003cem>Deli Man\u003c/em> on an empty stomach. The film is an unqualified success at whetting one’s appetite. From the first frame to the last, a mouth-watering array of delicacies fill the screen — mile-high pastrami sandwiches, towering vats of matzah ball soup, braids of baking challah. The camera lens closes in on each entrée until the audience can practically breathe the steam rising from every plate.\u003c/p>\n\u003cp>After a tightly edited opening sequence introducing a series of delicatessen owners and patrons, the film focuses on the story of Ziggy Gruber. He’s a third-generation deli man who runs a deli in Houston, Tex., but his family’s Jewish heritage is firmly rooted in Eastern Europe. By looking at Gruber’s personal journey — from culinary school prodigy to successful deli owner — the director seamlessly incorporates a history of Jewish immigration and assimilation into the American diaspora.\u003c/p>\n\u003cp>The filmmakers use a clever technique to maintain a jaunty tone (the scenes never drag) by cutting in short interviews with deli men from around the country. They become a Greek chorus of commentators who fill in their own details about the deli business, thereby affirming Gruber’s devotion to his family’s cultural traditions and his passion for his grandfather’s recipes.\u003c/p>\n\u003cp>Two members of that chorus are local deli men Evan Bloom and Leo Beckerman, co-founders and managers of Wise Sons Jewish Delicatessen. In January of this year, after their interviews for \u003cem>Deli Man\u003c/em> were shot, the Wise Sons main production facility in San Francisco’s Mission district was destroyed in a fire. While the details of the fire have been \u003ca href=\"http://www.sfgate.com/bayarea/article/Crews-battle-raging-Mission-District-fire-6047291.php\" target=\"_blank\" rel=\"noopener\">covered by local media\u003c/a>, Evan Bloom recently gave an update on the business and their participation in the film. \u003c/p>\n\u003cfigure id=\"attachment_10447768\" class=\"wp-caption alignright\" style=\"max-width: 575px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_.jpg\" alt=\"Leo Beckerman and Evan Bloom, owners of Wise Sons Jewish Delicatessen in San Francisco. (Photo: Wise Sons Facebook)\" width=\"575\" height=\"571\" class=\"size-full wp-image-10447768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_.jpg 575w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-320x318.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-75x75.jpg 75w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003cfigcaption class=\"wp-caption-text\">Leo Beckerman and Evan Bloom, owners of Wise Sons Jewish Delicatessen in San Francisco. (Photo: Wise Sons’ Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you become involved with the film?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We actually found the filmmakers. A few years ago there was a preview clip going around the Jewish community, and it was sent to me by aunts, uncles and friends. We thought we should reach out to see if they’re covering any of the new age stuff. We called the director (Erik Greenberg Anjou) and said, “This is what we’re doing here in San Francisco, and we’d love to be a part of this.” And they came out and thought it was a good idea.\u003c/p>\n\u003cp>\u003cstrong>What is your family history as it relates to deli culture?\u003c/strong>\u003c/p>\n\u003cp>My family was about the food and the culture. It was important for us to get together for the holidays and have traditional food, on my dad’s side. On the other side, it was about going out to the deli on Sunday with the whole family and really getting that experience. That’s where my nostalgia comes from. I grew up in Southern California about an hour north of Los Angeles. My father was raised by my grandparents in the Pico/Robertson area of Los Angeles, which is very Jewish, a lot of kosher restaurants within walking distance. \u003c/p>\n\u003cp>\u003cstrong>Are those delis that you grew up going to with your family still in business?\u003c/strong>\u003c/p>\n\u003cp>Oh, yeah. We grew up going to Brent’s. There was Art’s, which we went to quite a bit as well. That was something I always looked forward too. Now, when I go back to Los Angeles and visit my grandmother, we go out to the deli. That’s always something that’s been a big part of visiting and seeing my family. My grandparents actually met at my great-grandparents’ store outside of Boston. We had an old-school family store with a pickle barrel and meat counter, your one-stop shop. Leo and I put up the same motto in the front of our restaurant that they had over their counter: “Quality, Cleanliness and Service.” This was our nod to the past.\u003c/p>\n\u003cfigure id=\"attachment_10447769\" class=\"wp-caption alignright\" style=\"max-width: 575px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WiseSonsINterior.jpg\" alt=\"Inside Wise Sons Delicatessen in the Mission District. (Photo: Wise Sons Facebook)\" width=\"575\" height=\"411\" class=\"size-full wp-image-10447769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSonsINterior.jpg 575w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSonsINterior-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSonsINterior-320x229.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003cfigcaption class=\"wp-caption-text\">Inside Wise Sons Delicatessen in the Mission District. (Photo: Wise Sons’ Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel that cooking is an art?\u003c/strong>\u003c/p>\n\u003cp>There’s something beautiful about a perfectly cooked cut of smoked meat. When you’ve got absolutely everything right about the slice of pastrami: the fat, the smell, the salt level’s right, the smoke is good. For us, it’s about pleasing people. And so much of that is based on nostalgia. We try to put the best-tasting foods, using the best ingredients, making things from scratch. People are looking for these familiar flavors. For so many people, food is a way for them to connect with their past. It’s not only about the way food tastes; it’s about the emotion of the experience. \u003c/p>\n\u003cp>\u003cstrong>Where do things stand now after the fire?\u003c/strong>\u003c/p>\n\u003cp>We’re looking to recover as quickly as possible. We did all of our baking there, all of our production, our offices were there. Now we’re moving into a temporary facility. It’ll help us get back to speed on our rye bread. We haven’t had chocolate babka in over a month. We hope to have that in the next couple of weeks, actually, and we’re excited about that.\u003cbr>\nIt’s unknown what’s going to happen with that building. They definitely have to gut it no matter what. We’re currently looking for a new permanent location. Dealing with the insurance company is a whole new experience for us. So far, so good. \u003c/p>\n\u003cp>\u003cstrong>How did you initially choose to open in the Mission?\u003c/strong>\u003c/p>\n\u003cp>We are a neighborhood restaurant, the restaurant we wanted on our corner. Leo and I live a few blocks away. For our quality of life, we can walk to work. At the heart of a Jewish deli is a blue-collar restaurant. It’s Jewish soul food, but it’s not just for Jews. We’re now open from 8am to 9pm every day, which was always the plan. You can come in to get a sandwich or eggs at any time of the day. If you go to a lot of the old-school delis now, the neighborhoods have changed. There aren’t a lot of delis left in the “Jewish” neighborhoods, because we’ve assimilated. The next immigrant group has moved in. \u003c/p>\n\u003cp>\u003cstrong>Do you have many Latino customers?\u003c/strong>\u003c/p>\n\u003cp>We don’t. But we do have some that come in. There’s a woman who comes in, I think she’s over 100 now. She’s been living in the neighborhood her whole life. She brings her daughter. She’s very happy to have this kind of place to go to on her corner. We’re young, so there are certain aspects of our business that some people aren’t going to like. \u003c/p>\n\u003cp>\u003cstrong>But now do you feel a part of the neighborhood?\u003c/strong>\u003c/p>\n\u003cp>One-hundred percent. We haven’t had any problems, knock on wood. People have been really friendly. It’s interesting that we think of the Mission as mainly Latino, but there are many East Coast transplants who moved from the Village in the ’70s and ’80s and they all live in this neighborhood. It was a lower cost to move here at one time. There are all these other people in the neighborhood who come in and say, “This is what we’ve been looking for.” We have our regulars. But at the same time, the neighborhood’s changing and we lose a lot of regulars to evictions. People lose their houses. We talked to one of our most regular customers yesterday. He said, “I’m moving to Oakland; I’ve been evicted.” We see the change. It’s definitely happening. Even in the three years we have been open here in the Mission. When we first opened, we did a very strong weekday breakfast, and that was due to a lot of people who lived in the neighborhood, who didn’t have traditional 9-to-5 jobs. And now, a lot of those people are getting priced out or pushed out. There are a lot of people who have 9-to-5 jobs and they don’t eat breakfast Monday through Friday in the neighborhood. We’ve seen these changes in only a few years. \u003c/p>\n\u003cp>\u003cstrong>And last but not least, what did you have for lunch today?\u003c/strong>\u003c/p>\n\u003cp>I had a smoked turkey sandwich on challah, with a scoop of potato salad. When you’re in the restaurant business, day in and day out, you eat a lot of turkey. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Evan Bloom and Leo Beckerman of Wise Sons Jewish Delicatessen will be in person to introduce ‘Deli Man’ at \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deli-man/\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> on Friday, March 6, and Saturday, March 7, at the 7:10pm show each night.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1562,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705047460,
"excerpt": "Evan Bloom, co-owner of Wise Sons Delicatessen, talks about Jewish family tradition, doing business in the Mission District, and the new documentary \u003cem>Deli Man\u003c/em>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Evan Bloom, co-owner of Wise Sons Delicatessen, talks about Jewish family tradition, doing business in the Mission District, and the new documentary Deli Man.",
"title": "Keeping a Jewish Deli Tradition Alive | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Keeping a Jewish Deli Tradition Alive",
"datePublished": "2015-03-06T16:00:54-08:00",
"dateModified": "2024-01-12T00:17:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "keeping-a-jewish-deli-tradition-alive",
"status": "publish",
"sticky": false,
"path": "/arts/10447650/keeping-a-jewish-deli-tradition-alive",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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/jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Deli Man’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary on Jewish delicatessens.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 6–12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Opera Plaza Cinemas\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deli-man/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-venue\">Rialto Cinemas Elmwood\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deli-man-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It is unwise to watch the new documentary \u003cem>Deli Man\u003c/em> on an empty stomach. The film is an unqualified success at whetting one’s appetite. From the first frame to the last, a mouth-watering array of delicacies fill the screen — mile-high pastrami sandwiches, towering vats of matzah ball soup, braids of baking challah. The camera lens closes in on each entrée until the audience can practically breathe the steam rising from every plate.\u003c/p>\n\u003cp>After a tightly edited opening sequence introducing a series of delicatessen owners and patrons, the film focuses on the story of Ziggy Gruber. He’s a third-generation deli man who runs a deli in Houston, Tex., but his family’s Jewish heritage is firmly rooted in Eastern Europe. By looking at Gruber’s personal journey — from culinary school prodigy to successful deli owner — the director seamlessly incorporates a history of Jewish immigration and assimilation into the American diaspora.\u003c/p>\n\u003cp>The filmmakers use a clever technique to maintain a jaunty tone (the scenes never drag) by cutting in short interviews with deli men from around the country. They become a Greek chorus of commentators who fill in their own details about the deli business, thereby affirming Gruber’s devotion to his family’s cultural traditions and his passion for his grandfather’s recipes.\u003c/p>\n\u003cp>Two members of that chorus are local deli men Evan Bloom and Leo Beckerman, co-founders and managers of Wise Sons Jewish Delicatessen. In January of this year, after their interviews for \u003cem>Deli Man\u003c/em> were shot, the Wise Sons main production facility in San Francisco’s Mission district was destroyed in a fire. While the details of the fire have been \u003ca href=\"http://www.sfgate.com/bayarea/article/Crews-battle-raging-Mission-District-fire-6047291.php\" target=\"_blank\" rel=\"noopener\">covered by local media\u003c/a>, Evan Bloom recently gave an update on the business and their participation in the film. \u003c/p>\n\u003cfigure id=\"attachment_10447768\" class=\"wp-caption alignright\" style=\"max-width: 575px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_.jpg\" alt=\"Leo Beckerman and Evan Bloom, owners of Wise Sons Jewish Delicatessen in San Francisco. (Photo: Wise Sons Facebook)\" width=\"575\" height=\"571\" class=\"size-full wp-image-10447768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_.jpg 575w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-320x318.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSons.Sepia_-75x75.jpg 75w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003cfigcaption class=\"wp-caption-text\">Leo Beckerman and Evan Bloom, owners of Wise Sons Jewish Delicatessen in San Francisco. (Photo: Wise Sons’ Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you become involved with the film?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We actually found the filmmakers. A few years ago there was a preview clip going around the Jewish community, and it was sent to me by aunts, uncles and friends. We thought we should reach out to see if they’re covering any of the new age stuff. We called the director (Erik Greenberg Anjou) and said, “This is what we’re doing here in San Francisco, and we’d love to be a part of this.” And they came out and thought it was a good idea.\u003c/p>\n\u003cp>\u003cstrong>What is your family history as it relates to deli culture?\u003c/strong>\u003c/p>\n\u003cp>My family was about the food and the culture. It was important for us to get together for the holidays and have traditional food, on my dad’s side. On the other side, it was about going out to the deli on Sunday with the whole family and really getting that experience. That’s where my nostalgia comes from. I grew up in Southern California about an hour north of Los Angeles. My father was raised by my grandparents in the Pico/Robertson area of Los Angeles, which is very Jewish, a lot of kosher restaurants within walking distance. \u003c/p>\n\u003cp>\u003cstrong>Are those delis that you grew up going to with your family still in business?\u003c/strong>\u003c/p>\n\u003cp>Oh, yeah. We grew up going to Brent’s. There was Art’s, which we went to quite a bit as well. That was something I always looked forward too. Now, when I go back to Los Angeles and visit my grandmother, we go out to the deli. That’s always something that’s been a big part of visiting and seeing my family. My grandparents actually met at my great-grandparents’ store outside of Boston. We had an old-school family store with a pickle barrel and meat counter, your one-stop shop. Leo and I put up the same motto in the front of our restaurant that they had over their counter: “Quality, Cleanliness and Service.” This was our nod to the past.\u003c/p>\n\u003cfigure id=\"attachment_10447769\" class=\"wp-caption alignright\" style=\"max-width: 575px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WiseSonsINterior.jpg\" alt=\"Inside Wise Sons Delicatessen in the Mission District. (Photo: Wise Sons Facebook)\" width=\"575\" height=\"411\" class=\"size-full wp-image-10447769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSonsINterior.jpg 575w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSonsINterior-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WiseSonsINterior-320x229.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003cfigcaption class=\"wp-caption-text\">Inside Wise Sons Delicatessen in the Mission District. (Photo: Wise Sons’ Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel that cooking is an art?\u003c/strong>\u003c/p>\n\u003cp>There’s something beautiful about a perfectly cooked cut of smoked meat. When you’ve got absolutely everything right about the slice of pastrami: the fat, the smell, the salt level’s right, the smoke is good. For us, it’s about pleasing people. And so much of that is based on nostalgia. We try to put the best-tasting foods, using the best ingredients, making things from scratch. People are looking for these familiar flavors. For so many people, food is a way for them to connect with their past. It’s not only about the way food tastes; it’s about the emotion of the experience. \u003c/p>\n\u003cp>\u003cstrong>Where do things stand now after the fire?\u003c/strong>\u003c/p>\n\u003cp>We’re looking to recover as quickly as possible. We did all of our baking there, all of our production, our offices were there. Now we’re moving into a temporary facility. It’ll help us get back to speed on our rye bread. We haven’t had chocolate babka in over a month. We hope to have that in the next couple of weeks, actually, and we’re excited about that.\u003cbr>\nIt’s unknown what’s going to happen with that building. They definitely have to gut it no matter what. We’re currently looking for a new permanent location. Dealing with the insurance company is a whole new experience for us. So far, so good. \u003c/p>\n\u003cp>\u003cstrong>How did you initially choose to open in the Mission?\u003c/strong>\u003c/p>\n\u003cp>We are a neighborhood restaurant, the restaurant we wanted on our corner. Leo and I live a few blocks away. For our quality of life, we can walk to work. At the heart of a Jewish deli is a blue-collar restaurant. It’s Jewish soul food, but it’s not just for Jews. We’re now open from 8am to 9pm every day, which was always the plan. You can come in to get a sandwich or eggs at any time of the day. If you go to a lot of the old-school delis now, the neighborhoods have changed. There aren’t a lot of delis left in the “Jewish” neighborhoods, because we’ve assimilated. The next immigrant group has moved in. \u003c/p>\n\u003cp>\u003cstrong>Do you have many Latino customers?\u003c/strong>\u003c/p>\n\u003cp>We don’t. But we do have some that come in. There’s a woman who comes in, I think she’s over 100 now. She’s been living in the neighborhood her whole life. She brings her daughter. She’s very happy to have this kind of place to go to on her corner. We’re young, so there are certain aspects of our business that some people aren’t going to like. \u003c/p>\n\u003cp>\u003cstrong>But now do you feel a part of the neighborhood?\u003c/strong>\u003c/p>\n\u003cp>One-hundred percent. We haven’t had any problems, knock on wood. People have been really friendly. It’s interesting that we think of the Mission as mainly Latino, but there are many East Coast transplants who moved from the Village in the ’70s and ’80s and they all live in this neighborhood. It was a lower cost to move here at one time. There are all these other people in the neighborhood who come in and say, “This is what we’ve been looking for.” We have our regulars. But at the same time, the neighborhood’s changing and we lose a lot of regulars to evictions. People lose their houses. We talked to one of our most regular customers yesterday. He said, “I’m moving to Oakland; I’ve been evicted.” We see the change. It’s definitely happening. Even in the three years we have been open here in the Mission. When we first opened, we did a very strong weekday breakfast, and that was due to a lot of people who lived in the neighborhood, who didn’t have traditional 9-to-5 jobs. And now, a lot of those people are getting priced out or pushed out. There are a lot of people who have 9-to-5 jobs and they don’t eat breakfast Monday through Friday in the neighborhood. We’ve seen these changes in only a few years. \u003c/p>\n\u003cp>\u003cstrong>And last but not least, what did you have for lunch today?\u003c/strong>\u003c/p>\n\u003cp>I had a smoked turkey sandwich on challah, with a scoop of potato salad. When you’re in the restaurant business, day in and day out, you eat a lot of turkey. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Evan Bloom and Leo Beckerman of Wise Sons Jewish Delicatessen will be in person to introduce ‘Deli Man’ at \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deli-man/\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> on Friday, March 6, and Saturday, March 7, at the 7:10pm show each night.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10447650/keeping-a-jewish-deli-tradition-alive",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_989"
],
"featImg": "arts_10447651",
"label": "arts"
},
"arts_10422323": {
"type": "posts",
"id": "arts_10422323",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10422323",
"score": null,
"sort": [
1425438011000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1425438011,
"format": "standard",
"title": "Five to Watch: In Like a Lion",
"headTitle": "Five to Watch: In Like a Lion | KQED",
"content": "\u003cp>It’s an in-between season at the multiplex, with the Oscar-winning films trickling out of theaters and the big summer flicks a long way off. That still leaves us an enormous range of big-screen entertainment. What stands out this month is the flurry of unusual surveys of motion-picture performances and history. And, of course, a major festival.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/bowie.manwhofell.jpg\" alt=\"bowie.manwhofell\" width=\"300\" height=\"194\" class=\"alignleft size-full wp-image-10439458\">\u003c/p>\n\u003cp>If he’d been born 50 years earlier, gender-bending rock ‘n’ roll chameleon David Bowie would have been a vaudeville star, or perhaps the otherworldly lead in F.W. Murnau’s \u003cem>Nosferatu\u003c/em>. He still got to play a vampire, in \u003cem>The Hunger\u003c/em> (Mar. 19 and 20), and an alien in \u003cem>The Man Who Fell to Earth\u003c/em> (Mar. 15 and 21), and yet another non-human life form (advertising executive) in \u003cem>Absolute Beginners\u003c/em> (Mar. 12). “Cracked Actor: David Bowie on Screen,” running Mar. 5-29 at Yerba Buena Center For the Arts, reintroduces us to the man who made the world safe for Hedwig and so many others. \u003ca href=\"http://www.ybca.org/david-bowie\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WhyActingMattersBookCover.jpeg\" alt=\"WhyActingMattersBookCover\" width=\"217\" height=\"320\" class=\"alignleft size-full wp-image-10439459\">\u003c/p>\n\u003cp>The brilliant San Francisco film critic, historian and essayist David Thomson has pondered the multilayered attractions of movie stars since the first edition of his essential resource \u003cem>A Biographical Dictionary of Film\u003c/em> came out in 1975. His books about Warren Beatty, Marlon Brando and Nicole Kidman, and extended monographs on Humphrey Bogart, Ingrid Bergman, Gary Cooper and Bette Davis, elegantly describe not only each actor’s unique qualities but how they connected and what they represented to the audiences of their time. Thomson’s latest, \u003cem>Why Acting Matters\u003c/em>, contemplates (among many things) the ways in which those and other stars taught every one of us how to act (in every definition of the word) in our daily lives. \u003cstrong>Why Acting Matters: An Evening with David Thomson\u003c/strong> brings the sage to the Roxie on Wednesday, Mar. 11 to introduce \u003cem>The Missouri Breaks\u003c/em> (1976), starring Marlon Brando, and to engage the audience in discussion afterward. \u003ca href=\"http://www.roxie.com/ai1ec_event/david-thomson/?instance_id=6827\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/My-Voice-My-Life.jpg\" alt=\"My-Voice-My-Life\" width=\"300\" height=\"163\" class=\"alignleft size-full wp-image-10439460\">\u003c/p>\n\u003cp>There’s plenty to discover at \u003cstrong>CAAMFest\u003c/strong>, the Bay Area’s venerable and exciting Asian-American film (and food and music) festival, but don’t overlook the new work by a trio of veteran former and current San Francisco documentary makers. Arthur Dong returns with the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> (Mar. 15) as well as the remastered version of \u003cem>Forbidden City, USA\u003c/em> (Mar. 14), his 1989 excavation of local Chinese-American history. Academy Award winner Ruby Yang follows a troupe of underprivileged Hong Kong students mounting a musical in her new feature doc, \u003cem>My Voice My Life\u003c/em> (Mar. 17 and 21), and reprises \u003cem>A Moment in Time\u003c/em> (Mar. 17), her 1989 study of Chinatown movie theaters in San Francisco from the 1920s through the ’70s. Felicia Lowe bravely unpacks personal history in \u003cem>Chinese Couplets\u003c/em> (Mar. 14 and 21), which revisits her mother’s experience as a detainee at Angel Island and afterward. CAAMFest runs Mar. 12-22 in San Francisco, Berkeley and Oakland. \u003ca href=\"http://caamfest.com/2015/\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Nickelodeon-publicity-1.75-mb.jpg\" alt=\"Nickelodeon-publicity-1.75-mb\" width=\"300\" height=\"221\" class=\"alignleft size-full wp-image-10439462\">\u003c/p>\n\u003cp>Beloved UC Berkeley film professor and raconteur Russell Merritt revels in cinema’s formative years. (Check out his 1994 book with J.B. Kaufman, \u003cem>Walt in Wonderland: The Silent Films of Walt Disney\u003c/em>.) A devotee of both the art of moviemaking and the pleasure of moviegoing, Merritt (who must have been the ringleader of a circus in a previous life) brings \u003cstrong>The Great Nickelodeon Show\u003c/strong> to the Vogue on Thursday, Mar. 26. The all-ages panoply of attractions recreates a trip to the moving pictures circa 1910, with live music and performances supplementing the (then–mind-blowing) images. No word on whether “period” prices of popcorn and candy will also apply. \u003ca href=\"http://www.cinemasf.com/vogue/\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/singin.jpg\" alt=\"singin\" width=\"242\" height=\"320\" class=\"alignleft size-full wp-image-10439463\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite Hollywood’s ongoing efforts to revive the musical (see — or rather, don’t — \u003cem>Into the Woods\u003c/em>), \u003ca href=\"https://twitter.com/AmznMovieRevws/status/562704192020967426\" target=\"_blank\" rel=\"noopener\">Americans long ago stopped going to the movies for singing and dancing\u003c/a>. (Yes, there have been exceptions, but you could say the same about Westerns.) Regardless, nothing will ever diminish the beyond-words bliss of watching Gene Kelly soloing in \u003cem>Singin’ in the Rain\u003c/em> or Astaire and Rogers swinging and strutting in, well, every film they made together. While I can’t promise that Fred and Ginger are included in “Gotta Dance!,” a seductive and witty program of immortal dance sequences on film accompanied by the San Francisco Symphony at Davies Symphony Hall on Saturday, Mar. 28, I can’t imagine anyone will go home disappointed. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2014-2015/Film-Gotta-Dance!-with-the-SFS.aspx\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 780,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705047482,
"excerpt": "Blustery acting, singing and dancing commandeers Bay Area screens in March.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Blustery acting, singing and dancing commandeers Bay Area screens in March.",
"title": "Five to Watch: In Like a Lion | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five to Watch: In Like a Lion",
"datePublished": "2015-03-03T19:00:11-08:00",
"dateModified": "2024-01-12T00:18:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-to-watch-in-like-a-lion",
"status": "publish",
"sticky": false,
"path": "/arts/10422323/five-to-watch-in-like-a-lion",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an in-between season at the multiplex, with the Oscar-winning films trickling out of theaters and the big summer flicks a long way off. That still leaves us an enormous range of big-screen entertainment. What stands out this month is the flurry of unusual surveys of motion-picture performances and history. And, of course, a major festival.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/bowie.manwhofell.jpg\" alt=\"bowie.manwhofell\" width=\"300\" height=\"194\" class=\"alignleft size-full wp-image-10439458\">\u003c/p>\n\u003cp>If he’d been born 50 years earlier, gender-bending rock ‘n’ roll chameleon David Bowie would have been a vaudeville star, or perhaps the otherworldly lead in F.W. Murnau’s \u003cem>Nosferatu\u003c/em>. He still got to play a vampire, in \u003cem>The Hunger\u003c/em> (Mar. 19 and 20), and an alien in \u003cem>The Man Who Fell to Earth\u003c/em> (Mar. 15 and 21), and yet another non-human life form (advertising executive) in \u003cem>Absolute Beginners\u003c/em> (Mar. 12). “Cracked Actor: David Bowie on Screen,” running Mar. 5-29 at Yerba Buena Center For the Arts, reintroduces us to the man who made the world safe for Hedwig and so many others. \u003ca href=\"http://www.ybca.org/david-bowie\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WhyActingMattersBookCover.jpeg\" alt=\"WhyActingMattersBookCover\" width=\"217\" height=\"320\" class=\"alignleft size-full wp-image-10439459\">\u003c/p>\n\u003cp>The brilliant San Francisco film critic, historian and essayist David Thomson has pondered the multilayered attractions of movie stars since the first edition of his essential resource \u003cem>A Biographical Dictionary of Film\u003c/em> came out in 1975. His books about Warren Beatty, Marlon Brando and Nicole Kidman, and extended monographs on Humphrey Bogart, Ingrid Bergman, Gary Cooper and Bette Davis, elegantly describe not only each actor’s unique qualities but how they connected and what they represented to the audiences of their time. Thomson’s latest, \u003cem>Why Acting Matters\u003c/em>, contemplates (among many things) the ways in which those and other stars taught every one of us how to act (in every definition of the word) in our daily lives. \u003cstrong>Why Acting Matters: An Evening with David Thomson\u003c/strong> brings the sage to the Roxie on Wednesday, Mar. 11 to introduce \u003cem>The Missouri Breaks\u003c/em> (1976), starring Marlon Brando, and to engage the audience in discussion afterward. \u003ca href=\"http://www.roxie.com/ai1ec_event/david-thomson/?instance_id=6827\" target=\"_blank\" rel=\"noopener\">More information and 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>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/My-Voice-My-Life.jpg\" alt=\"My-Voice-My-Life\" width=\"300\" height=\"163\" class=\"alignleft size-full wp-image-10439460\">\u003c/p>\n\u003cp>There’s plenty to discover at \u003cstrong>CAAMFest\u003c/strong>, the Bay Area’s venerable and exciting Asian-American film (and food and music) festival, but don’t overlook the new work by a trio of veteran former and current San Francisco documentary makers. Arthur Dong returns with the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> (Mar. 15) as well as the remastered version of \u003cem>Forbidden City, USA\u003c/em> (Mar. 14), his 1989 excavation of local Chinese-American history. Academy Award winner Ruby Yang follows a troupe of underprivileged Hong Kong students mounting a musical in her new feature doc, \u003cem>My Voice My Life\u003c/em> (Mar. 17 and 21), and reprises \u003cem>A Moment in Time\u003c/em> (Mar. 17), her 1989 study of Chinatown movie theaters in San Francisco from the 1920s through the ’70s. Felicia Lowe bravely unpacks personal history in \u003cem>Chinese Couplets\u003c/em> (Mar. 14 and 21), which revisits her mother’s experience as a detainee at Angel Island and afterward. CAAMFest runs Mar. 12-22 in San Francisco, Berkeley and Oakland. \u003ca href=\"http://caamfest.com/2015/\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Nickelodeon-publicity-1.75-mb.jpg\" alt=\"Nickelodeon-publicity-1.75-mb\" width=\"300\" height=\"221\" class=\"alignleft size-full wp-image-10439462\">\u003c/p>\n\u003cp>Beloved UC Berkeley film professor and raconteur Russell Merritt revels in cinema’s formative years. (Check out his 1994 book with J.B. Kaufman, \u003cem>Walt in Wonderland: The Silent Films of Walt Disney\u003c/em>.) A devotee of both the art of moviemaking and the pleasure of moviegoing, Merritt (who must have been the ringleader of a circus in a previous life) brings \u003cstrong>The Great Nickelodeon Show\u003c/strong> to the Vogue on Thursday, Mar. 26. The all-ages panoply of attractions recreates a trip to the moving pictures circa 1910, with live music and performances supplementing the (then–mind-blowing) images. No word on whether “period” prices of popcorn and candy will also apply. \u003ca href=\"http://www.cinemasf.com/vogue/\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/singin.jpg\" alt=\"singin\" width=\"242\" height=\"320\" class=\"alignleft size-full wp-image-10439463\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite Hollywood’s ongoing efforts to revive the musical (see — or rather, don’t — \u003cem>Into the Woods\u003c/em>), \u003ca href=\"https://twitter.com/AmznMovieRevws/status/562704192020967426\" target=\"_blank\" rel=\"noopener\">Americans long ago stopped going to the movies for singing and dancing\u003c/a>. (Yes, there have been exceptions, but you could say the same about Westerns.) Regardless, nothing will ever diminish the beyond-words bliss of watching Gene Kelly soloing in \u003cem>Singin’ in the Rain\u003c/em> or Astaire and Rogers swinging and strutting in, well, every film they made together. While I can’t promise that Fred and Ginger are included in “Gotta Dance!,” a seductive and witty program of immortal dance sequences on film accompanied by the San Francisco Symphony at Davies Symphony Hall on Saturday, Mar. 28, I can’t imagine anyone will go home disappointed. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2014-2015/Film-Gotta-Dance!-with-the-SFS.aspx\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10422323/five-to-watch-in-like-a-lion",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10439464",
"label": "arts"
},
"arts_10428039": {
"type": "posts",
"id": "arts_10428039",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10428039",
"score": null,
"sort": [
1425063082000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1425063082,
"format": "standard",
"title": "Leonard Nimoy, Mr. Spock on 'Star Trek,' Dies at 83",
"headTitle": "Leonard Nimoy, Mr. Spock on ‘Star Trek,’ Dies at 83 | KQED",
"content": "\u003cp>Actor Leonard Nimoy, best known for his role as Mr. Spock, the logical half-Vulcan, half-human in the original \u003cem>Star Trek\u003c/em> series and several movies, has died at his home in Los Angeles, his granddaughter, Madeleine, told NPR. Nimoy was 83.\u003c/p>\n\u003cp>The cause was end-stage chronic obstructive pulmonary disease, she said.\u003c/p>\n\u003cp>NPR’s Neda Ulaby, who is reporting on the story, tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Leonard Nimoy started acting as a teenager at a settlement house theater in Boston where he grew up. His father was a barber, a Jewish refugee from Ukraine. Nimoy felt stifled by Spock at times during his career. He also appeared on Broadway, wrote poetry and plays and directed a few blockbuster movies, including \u003cem>Star Trek 4\u003c/em>. He eventually made peace with the character. Spock could have been just pointy ears and punch lines. Leonard Nimoy gave him gravitas.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nimoy reprised the role he is most famous for in the J.J. Abrams’ reboot of the franchise. He told NPR’s Guy Raz in 2009: “I know why they wanted me in this last film, which was to create a bridge between the original cast and the new. But that’s been done. So I would suspect that there’s no need for my presence again.”\u003c/p>\n\u003cp>Actor Zachary Quinto, who took over as Mr. Spock in the reboot and its sequel, told NPR in 2013 that Nimoy “was very supportive from the beginning, and we became incredibly good friends.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>For an extra bit of fun, here’s Nimoy singing his song, “Ballad of Bilbo Baggins,” from 1967.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AGF5ROpjRAU\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=Leonard+Nimoy%2C+Mr.+Spock+On+%27Star+Trek%2C%27+Dies+At+83+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 298,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047504,
"excerpt": "The cause was end-stage chronic obstructive pulmonary disease, his wife, Susan Bay Nimoy, told \u003cem>The New York Times\u003c/em>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The cause was end-stage chronic obstructive pulmonary disease, his wife, Susan Bay Nimoy, told The New York Times.",
"title": "Leonard Nimoy, Mr. Spock on 'Star Trek,' Dies at 83 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Leonard Nimoy, Mr. Spock on 'Star Trek,' Dies at 83",
"datePublished": "2015-02-27T10:51:22-08:00",
"dateModified": "2024-01-12T00:18:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "leonard-nimoy-mr-spock-on-star-trek-dies-at-83",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=389516793&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Krishnadev Calamur",
"nprStoryDate": "Fri, 27 Feb 2015 12:37:00 -0500",
"nprLastModifiedDate": "Fri, 27 Feb 2015 13:40:53 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/02/27/389516793/leonard-nimoy-mr-spock-on-star-trek-dies-at-83?ft=nprml&f=389516793",
"nprStoryId": "389516793",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 27 Feb 2015 13:40:00 -0500",
"path": "/arts/10428039/leonard-nimoy-mr-spock-on-star-trek-dies-at-83",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Leonard Nimoy, best known for his role as Mr. Spock, the logical half-Vulcan, half-human in the original \u003cem>Star Trek\u003c/em> series and several movies, has died at his home in Los Angeles, his granddaughter, Madeleine, told NPR. Nimoy was 83.\u003c/p>\n\u003cp>The cause was end-stage chronic obstructive pulmonary disease, she said.\u003c/p>\n\u003cp>NPR’s Neda Ulaby, who is reporting on the story, tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Leonard Nimoy started acting as a teenager at a settlement house theater in Boston where he grew up. His father was a barber, a Jewish refugee from Ukraine. Nimoy felt stifled by Spock at times during his career. He also appeared on Broadway, wrote poetry and plays and directed a few blockbuster movies, including \u003cem>Star Trek 4\u003c/em>. He eventually made peace with the character. Spock could have been just pointy ears and punch lines. Leonard Nimoy gave him gravitas.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nimoy reprised the role he is most famous for in the J.J. Abrams’ reboot of the franchise. He told NPR’s Guy Raz in 2009: “I know why they wanted me in this last film, which was to create a bridge between the original cast and the new. But that’s been done. So I would suspect that there’s no need for my presence again.”\u003c/p>\n\u003cp>Actor Zachary Quinto, who took over as Mr. Spock in the reboot and its sequel, told NPR in 2013 that Nimoy “was very supportive from the beginning, and we became incredibly good friends.” \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>\u003ci>For an extra bit of fun, here’s Nimoy singing his song, “Ballad of Bilbo Baggins,” from 1967.\u003c/i>\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/AGF5ROpjRAU'\n title='//www.youtube.com/embed/AGF5ROpjRAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Leonard+Nimoy%2C+Mr.+Spock+On+%27Star+Trek%2C%27+Dies+At+83+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10428039/leonard-nimoy-mr-spock-on-star-trek-dies-at-83",
"authors": [
"byline_arts_10428039"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10428050",
"label": "arts_137"
},
"arts_10417100": {
"type": "posts",
"id": "arts_10417100",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10417100",
"score": null,
"sort": [
1424719908000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1424719908,
"format": "standard",
"title": "The Oscars: What People are Saying the Day After",
"headTitle": "The Oscars: What People are Saying the Day After | KQED",
"content": "\u003cp>Along with learning who won an Oscar at last night’s Academy Awards, we learned a lot more: Who to call (your parents), and what women should be paid (the same as men). From civil rights to immigration and health issues such as Alzheimer’s and Lou Gehrig’s diseases, advocacy was a big part of last night’s show. Here’s a quick rundown of what people are saying Monday.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:45 p.m. ET: Low Ratings, And Stephen Hawking’s Reaction\u003c/strong>\u003c/p>\n\u003cp>Compared to last year’s show hosted by Ellen DeGeneres, not as many people watched this year. \u003ca href=\"http://deadline.com/2015/02/oscar-ratings-2015-academy-awards-show-abc-1201379351/\" target=\"_blank\" rel=\"noopener\">Deadline Hollywood \u003c/a>reports:\u003c/p>\n\u003cp>“Viewershipwise, the 87\u003csup>th\u003c/sup> Academy Awards were watched by 34.6 million between 8:30 and 11 PM in the early results. That’s down almost 14 percent from the 40.2 million who watched the show over the same time period last year.”\u003c/p>\n\u003cp>In another update, Stephen Hawking used \u003ca href=\"https://www.facebook.com/stephenhawking\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>to cheer a win by the actor who portrayed him: “Congratulations to Eddie Redmayne for winning an \u003ca href=\"https://www.facebook.com/hashtag/oscar?source=feed_text&story_id=787167211370378\" target=\"_blank\" rel=\"noopener\">#Oscar\u003c/a> for playing me in \u003ca href=\"https://www.facebook.com/TheoryofEverythingMovie\" target=\"_blank\" rel=\"noopener\">The Theory of Everything Movie\u003c/a>. Well done Eddie, I’m very proud of you. –SH.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cp>After winning a best supporting actress Oscar for \u003cem>Boyhood\u003c/em>, Patricia Arquette addressed every mother and every American: “We have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all — and equal rights for women in the United States of America.”\u003c/p>\n\u003cp>Loud cheers rose as Arquette spoke, with Meryl Streep repeatedly pointing at Arquette as she applauded her alongside Jennifer Lopez. As NPR’s Linda Holmes notes \u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/02/23/388291018/birdman-wins-big-on-a-soggy-night-at-the-oscars\" target=\"_blank\" rel=\"noopener\">in her recap post\u003c/a> for of the Monkey See blog, “This moment was The Jubilation That \u003ca href=\"http://31.media.tumblr.com/5b5d50376ec092f6d318aea3c85535dd/tumblr_nk7eysuwpJ1qiavcao1_400.gif\" target=\"_blank\" rel=\"noopener\">Launched A Thousand GIFs\u003c/a>.”\u003c/p>\n\u003cp>Race was also a topic at an Oscars in which all 20 of the nominees in the acting categories were white, and the Martin Luther King Jr. film \u003cem>Selma \u003c/em>wasn’t picked to vie for any of the high-profile awards besides best picture.\u003c/p>\n\u003cp>“There had been some talk about a protest outside the ceremony from civil rights groups,” NPR’s Mandalit del Barco reports. “Reportedly the director of \u003cem>Selma\u003c/em>, Ava DuVernay, convinced them to begin a dialogue with the Academy instead of protesting.”\u003c/p>\n\u003cp>After winning for best original song for \u003cem>Selma’s \u003c/em>“Glory\u003cem>,\u003c/em>” John Legend and Common outlined a struggle that’s still continuing. In a performance and acceptance speech, they reflected how fully politics were intertwined with this Oscars show, leading to \u003ca href=\"http://www.politico.com/story/2015/02/john-legend-common-oscars-115414.html\" target=\"_blank\" rel=\"noopener\">a story by Politico\u003c/a>.\u003c/p>\n\u003cp>“We know that right now the struggle for freedom and justice is real,” Legend said from the podium. “We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850.”\u003c/p>\n\u003cp>\u003cem>Birdman\u003c/em> best picture winner Alejandro Gonzalez Inarritu used his speech to discuss immigration and the current atmosphere in the U.S.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-oscars-birdman-main-20150223-story.html#page=1\" target=\"_blank\" rel=\"noopener\">Los Angeles Times\u003c/a>\u003c/em> reports, Inarritu told the audience, “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico.”\u003c/p>\n\u003cp>Discussing immigrants in the U.S. at the end of his speech, Inarritu said, “I pray that they can be treated with the same dignity and respect as the ones who came before and built this incredible immigrant nation.”\u003c/p>\n\u003cp>Another important theme of the night was suicide.\u003c/p>\n\u003cp>From \u003cem>New York\u003c/em> magazine’s \u003ca href=\"http://www.vulture.com/2015/02/oscars-2015-highs-lows.html\" target=\"_blank\" rel=\"noopener\">culture blog, Vulture\u003c/a>: “Earlier in the night,\u003cem> Crisis Hotline\u003c/em> director Ellen Goosenberg Kent and producer Dana Perry said ‘we should talk about suicide out loud’ in their Oscars speech. Graham Moore, winner of Best Adapted Screenplay for \u003cem>The Imitation Game\u003c/em>, answered their call, \u003ca href=\"http://www.vulture.com/2015/02/graham-moores-oscars-speech-will-make-you-cry.html\" target=\"_blank\" rel=\"noopener\">speaking candidly\u003c/a> of his own suicide attempt at age 16.”\u003c/p>\n\u003cp>Moore told young people in the audience “to stay different, stay weird.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.bbc.com/news/entertainment-arts-31585943\" target=\"_blank\" rel=\"noopener\">The BBC\u003c/a> notes that best actress nominee Reese Witherspoon backed the #AskHerMore campaign, urging the media to ask women about their lives and challenges, instead of focusing only on who made the dress they’re wearing.\u003c/p>\n\u003cp>Of that campaign, Linda tweeted: “On red carpet questions: Liking fashion is an okay thing! Dresses are creative work and not shameful! Just ask other stuff also.”\u003c/p>\n\u003cp>For a show that’s all about the movies, the broadcast brought several memorable musical performances, such as:\u003c/p>\n\u003cp>Tegan and Sara and The Lonely Island performing a raucous version of “Everything Is Awesome” from \u003cem>The LEGO Movie …\u003c/em>\u003c/p>\n\u003cp>Legend and Common performing the moving \u003cem>Glory \u003c/em>from\u003cem> Selma …\u003c/em>\u003c/p>\n\u003cp>Lady Gaga’s tribute to \u003cem>The Sound of Music …\u003c/em>\u003c/p>\n\u003cp>And Tim McGraw performing Glen Campbell’s “I’m Not Gonna Miss You,” a moment that sparked tears for many, including Julianne Moore, who later won best actress for her portrayal of a professor with Alzheimer’s. Here’s the original version, from Campbell:\u003c/p>\n\u003cp>And then there was the show’s length, which is often indirectly proportional to another element — viewer interest. By the end, even host Neil Patrick Harris’ buoyantly impish approach (including an appearance in his underwear, in a nod to best picture winner \u003cem>Birdman\u003c/em>) wasn’t much help to some, including Slate’s Dana Stevens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While praising Harris for his opening monologue and song, \u003ca href=\"http://variety.com/2015/tv/reviews/oscars-tv-review-2015-academy-awards-broadcast-1201439003/\">\u003cem>Variety\u003c/em> critic Brian Lowry\u003c/a> writes, “whether his performance warrants an encore is difficult to divorce from the general malaise of the evening.” \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=The+Oscars%3A+What+People+Are+Saying+The+Day+After&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 958,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1705047533,
"excerpt": "From civil rights to immigration and health issues such as Alzheimer's and Lou Gehrig's diseases, advocacy was a big part of last night's show. Here's what people are saying about it Monday.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "From civil rights to immigration and health issues such as Alzheimer's and Lou Gehrig's diseases, advocacy was a big part of last night's show. Here's what people are saying about it Monday.",
"title": "The Oscars: What People are Saying the Day After | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Oscars: What People are Saying the Day After",
"datePublished": "2015-02-23T11:31:48-08:00",
"dateModified": "2024-01-12T00:18:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-oscars-what-people-are-saying-the-day-after",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=388430866&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Mon, 23 Feb 2015 09:16:00 -0500",
"nprLastModifiedDate": "Mon, 23 Feb 2015 13:16:19 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/02/23/388430866/the-oscars-what-people-are-saying-the-day-after?ft=nprml&f=388430866",
"nprStoryId": "388430866",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 23 Feb 2015 13:16:00 -0500",
"path": "/arts/10417100/the-oscars-what-people-are-saying-the-day-after",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along with learning who won an Oscar at last night’s Academy Awards, we learned a lot more: Who to call (your parents), and what women should be paid (the same as men). From civil rights to immigration and health issues such as Alzheimer’s and Lou Gehrig’s diseases, advocacy was a big part of last night’s show. Here’s a quick rundown of what people are saying Monday.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:45 p.m. ET: Low Ratings, And Stephen Hawking’s Reaction\u003c/strong>\u003c/p>\n\u003cp>Compared to last year’s show hosted by Ellen DeGeneres, not as many people watched this year. \u003ca href=\"http://deadline.com/2015/02/oscar-ratings-2015-academy-awards-show-abc-1201379351/\" target=\"_blank\" rel=\"noopener\">Deadline Hollywood \u003c/a>reports:\u003c/p>\n\u003cp>“Viewershipwise, the 87\u003csup>th\u003c/sup> Academy Awards were watched by 34.6 million between 8:30 and 11 PM in the early results. That’s down almost 14 percent from the 40.2 million who watched the show over the same time period last year.”\u003c/p>\n\u003cp>In another update, Stephen Hawking used \u003ca href=\"https://www.facebook.com/stephenhawking\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>to cheer a win by the actor who portrayed him: “Congratulations to Eddie Redmayne for winning an \u003ca href=\"https://www.facebook.com/hashtag/oscar?source=feed_text&story_id=787167211370378\" target=\"_blank\" rel=\"noopener\">#Oscar\u003c/a> for playing me in \u003ca href=\"https://www.facebook.com/TheoryofEverythingMovie\" target=\"_blank\" rel=\"noopener\">The Theory of Everything Movie\u003c/a>. Well done Eddie, I’m very proud of you. –SH.”\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>Our original post continues:\u003c/em>\u003c/p>\n\u003cp>After winning a best supporting actress Oscar for \u003cem>Boyhood\u003c/em>, Patricia Arquette addressed every mother and every American: “We have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all — and equal rights for women in the United States of America.”\u003c/p>\n\u003cp>Loud cheers rose as Arquette spoke, with Meryl Streep repeatedly pointing at Arquette as she applauded her alongside Jennifer Lopez. As NPR’s Linda Holmes notes \u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/02/23/388291018/birdman-wins-big-on-a-soggy-night-at-the-oscars\" target=\"_blank\" rel=\"noopener\">in her recap post\u003c/a> for of the Monkey See blog, “This moment was The Jubilation That \u003ca href=\"http://31.media.tumblr.com/5b5d50376ec092f6d318aea3c85535dd/tumblr_nk7eysuwpJ1qiavcao1_400.gif\" target=\"_blank\" rel=\"noopener\">Launched A Thousand GIFs\u003c/a>.”\u003c/p>\n\u003cp>Race was also a topic at an Oscars in which all 20 of the nominees in the acting categories were white, and the Martin Luther King Jr. film \u003cem>Selma \u003c/em>wasn’t picked to vie for any of the high-profile awards besides best picture.\u003c/p>\n\u003cp>“There had been some talk about a protest outside the ceremony from civil rights groups,” NPR’s Mandalit del Barco reports. “Reportedly the director of \u003cem>Selma\u003c/em>, Ava DuVernay, convinced them to begin a dialogue with the Academy instead of protesting.”\u003c/p>\n\u003cp>After winning for best original song for \u003cem>Selma’s \u003c/em>“Glory\u003cem>,\u003c/em>” John Legend and Common outlined a struggle that’s still continuing. In a performance and acceptance speech, they reflected how fully politics were intertwined with this Oscars show, leading to \u003ca href=\"http://www.politico.com/story/2015/02/john-legend-common-oscars-115414.html\" target=\"_blank\" rel=\"noopener\">a story by Politico\u003c/a>.\u003c/p>\n\u003cp>“We know that right now the struggle for freedom and justice is real,” Legend said from the podium. “We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850.”\u003c/p>\n\u003cp>\u003cem>Birdman\u003c/em> best picture winner Alejandro Gonzalez Inarritu used his speech to discuss immigration and the current atmosphere in the U.S.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-oscars-birdman-main-20150223-story.html#page=1\" target=\"_blank\" rel=\"noopener\">Los Angeles Times\u003c/a>\u003c/em> reports, Inarritu told the audience, “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico.”\u003c/p>\n\u003cp>Discussing immigrants in the U.S. at the end of his speech, Inarritu said, “I pray that they can be treated with the same dignity and respect as the ones who came before and built this incredible immigrant nation.”\u003c/p>\n\u003cp>Another important theme of the night was suicide.\u003c/p>\n\u003cp>From \u003cem>New York\u003c/em> magazine’s \u003ca href=\"http://www.vulture.com/2015/02/oscars-2015-highs-lows.html\" target=\"_blank\" rel=\"noopener\">culture blog, Vulture\u003c/a>: “Earlier in the night,\u003cem> Crisis Hotline\u003c/em> director Ellen Goosenberg Kent and producer Dana Perry said ‘we should talk about suicide out loud’ in their Oscars speech. Graham Moore, winner of Best Adapted Screenplay for \u003cem>The Imitation Game\u003c/em>, answered their call, \u003ca href=\"http://www.vulture.com/2015/02/graham-moores-oscars-speech-will-make-you-cry.html\" target=\"_blank\" rel=\"noopener\">speaking candidly\u003c/a> of his own suicide attempt at age 16.”\u003c/p>\n\u003cp>Moore told young people in the audience “to stay different, stay weird.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.bbc.com/news/entertainment-arts-31585943\" target=\"_blank\" rel=\"noopener\">The BBC\u003c/a> notes that best actress nominee Reese Witherspoon backed the #AskHerMore campaign, urging the media to ask women about their lives and challenges, instead of focusing only on who made the dress they’re wearing.\u003c/p>\n\u003cp>Of that campaign, Linda tweeted: “On red carpet questions: Liking fashion is an okay thing! Dresses are creative work and not shameful! Just ask other stuff also.”\u003c/p>\n\u003cp>For a show that’s all about the movies, the broadcast brought several memorable musical performances, such as:\u003c/p>\n\u003cp>Tegan and Sara and The Lonely Island performing a raucous version of “Everything Is Awesome” from \u003cem>The LEGO Movie …\u003c/em>\u003c/p>\n\u003cp>Legend and Common performing the moving \u003cem>Glory \u003c/em>from\u003cem> Selma …\u003c/em>\u003c/p>\n\u003cp>Lady Gaga’s tribute to \u003cem>The Sound of Music …\u003c/em>\u003c/p>\n\u003cp>And Tim McGraw performing Glen Campbell’s “I’m Not Gonna Miss You,” a moment that sparked tears for many, including Julianne Moore, who later won best actress for her portrayal of a professor with Alzheimer’s. Here’s the original version, from Campbell:\u003c/p>\n\u003cp>And then there was the show’s length, which is often indirectly proportional to another element — viewer interest. By the end, even host Neil Patrick Harris’ buoyantly impish approach (including an appearance in his underwear, in a nod to best picture winner \u003cem>Birdman\u003c/em>) wasn’t much help to some, including Slate’s Dana Stevens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While praising Harris for his opening monologue and song, \u003ca href=\"http://variety.com/2015/tv/reviews/oscars-tv-review-2015-academy-awards-broadcast-1201439003/\">\u003cem>Variety\u003c/em> critic Brian Lowry\u003c/a> writes, “whether his performance warrants an encore is difficult to divorce from the general malaise of the evening.” \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=The+Oscars%3A+What+People+Are+Saying+The+Day+After&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10417100/the-oscars-what-people-are-saying-the-day-after",
"authors": [
"byline_arts_10417100"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10417102",
"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": 2484,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_10534800",
"arts_10529115",
"arts_10502934",
"arts_10509076",
"arts_10507350",
"arts_10479829",
"arts_10464714",
"arts_10456206",
"arts_10447650",
"arts_10422323",
"arts_10428039",
"arts_10417100"
],
"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_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_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_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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_1201": {
"type": "terms",
"id": "arts_1201",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1201",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1213,
"slug": "film-festivals",
"isLoading": false,
"link": "/arts/tag/film-festivals"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"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_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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"
}
},
"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
}
}
