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_10029962": {
"type": "attachments",
"id": "arts_10029962",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029962",
"found": true
},
"parent": 29962,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/trash-humpers-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/trash-humpers-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/trash-humpers-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/trash-humpers-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/trash-humpers-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/trash-humpers-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1275527899,
"modified": 1275527899,
"caption": null,
"description": null,
"title": "Trash Humpers-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029852": {
"type": "attachments",
"id": "arts_10029852",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029852",
"found": true
},
"parent": 29852,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/n-e-w-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/n-e-w-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/n-e-w-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/n-e-w-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/n-e-w-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/n-e-w-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1274916910,
"modified": 1274916910,
"caption": null,
"description": null,
"title": "New Experimental Works at Other Cinema-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029802": {
"type": "attachments",
"id": "arts_10029802",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029802",
"found": true
},
"parent": 29802,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/john-waters-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/john-waters-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1274727930,
"modified": 1274727930,
"caption": null,
"description": null,
"title": "Conversations with John Waters-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029515": {
"type": "attachments",
"id": "arts_10029515",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029515",
"found": true
},
"parent": 29515,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/adult-beginner-248x1406.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/adult-beginner-248x1406-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1273532625,
"modified": 1273532625,
"caption": null,
"description": null,
"title": "Adult Beginner Ballet-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029413": {
"type": "attachments",
"id": "arts_10029413",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029413",
"found": true
},
"parent": 29413,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/please-give-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/please-give-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/please-give-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/please-give-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/please-give-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/please-give-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1273105459,
"modified": 1273105459,
"caption": null,
"description": null,
"title": "Please Give-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029408": {
"type": "attachments",
"id": "arts_10029408",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029408",
"found": true
},
"parent": 29408,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/bausch-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/bausch-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/bausch-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/bausch-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/bausch-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/bausch-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1273104181,
"modified": 1273104181,
"caption": null,
"description": null,
"title": "To the Limit: Pina Bausch on Film-Photo: Anne Linsel",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029147": {
"type": "attachments",
"id": "arts_10029147",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029147",
"found": true
},
"parent": 29147,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/kl-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/kl-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/kl-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/kl-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/kl-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/kl-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1271975782,
"modified": 1271975782,
"caption": null,
"description": null,
"title": "Stereo Sound and Vision-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029118": {
"type": "attachments",
"id": "arts_10029118",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029118",
"found": true
},
"parent": 29118,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/secret-eyes-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/secret-eyes-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/secret-eyes-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/secret-eyes-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/secret-eyes-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/secret-eyes-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1271899001,
"modified": 1271899001,
"caption": null,
"description": null,
"title": "The Secret in Their Eyes-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029110": {
"type": "attachments",
"id": "arts_10029110",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029110",
"found": true
},
"parent": 29110,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sffs-2010-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sffs-2010-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sffs-2010-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sffs-2010-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sffs-2010-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sffs-2010-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1271882631,
"modified": 1271882631,
"caption": null,
"description": null,
"title": "San Francisco International Film Festival 2010-\"The White Meadows\" by Mohammad Rasoulof",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029024": {
"type": "attachments",
"id": "arts_10029024",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029024",
"found": true
},
"parent": 29024,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/la-mission-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/la-mission-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/la-mission-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/la-mission-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/la-mission-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/la-mission-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1271374304,
"modified": 1271374304,
"caption": null,
"description": null,
"title": "O Brother?-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028985": {
"type": "attachments",
"id": "arts_10028985",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028985",
"found": true
},
"parent": 28985,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/crossroads-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/crossroads-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/crossroads-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/crossroads-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/crossroads-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/crossroads-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1271283023,
"modified": 1271283023,
"caption": null,
"description": null,
"title": "Crossroads-\"Crooked Beauty\" by Ken Paul Rosenthal",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028953": {
"type": "attachments",
"id": "arts_10028953",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028953",
"found": true
},
"parent": 28953,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/banksy-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/banksy-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1271210337,
"modified": 1271210337,
"caption": null,
"description": null,
"title": "Exit Through the Miffed Shop-",
"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": {
"kfarr": {
"type": "authors",
"id": "16",
"meta": {
"index": "authors_1716337520",
"id": "16",
"found": true
},
"name": "Kristin Farr",
"firstName": "Kristin",
"lastName": "Farr",
"slug": "kfarr",
"email": "kfarr@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Kristin Farr is the creator and producer of KQED's Emmy Award-winning web video series, Art School, and she is also a contributing editor for Juxtapoz magazine. Her artwork has been exhibited at galleries around the Bay Area including YBCA, Fifty24SF, Anno Domini and The Bedford Gallery. Her FarrOut art app for iOS was released in 2013. She lives in the East Bay and her favorite color is all of them.",
"avatar": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twitter": "kristinfarr",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kristin Farr | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kfarr"
},
"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"
},
"jkiefer": {
"type": "authors",
"id": "36",
"meta": {
"index": "authors_1716337520",
"id": "36",
"found": true
},
"name": "Jonathan Kiefer",
"firstName": "Jonathan",
"lastName": "Kiefer",
"slug": "jkiefer",
"email": "FAKE_jkiefer@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Look, Jonathan Kiefer doesn't like this any more than you do. But he'd read your little bio blurb if you asked him to, so just humor him, ok? Kiefer lives in San Francisco, but hasn't always. He has been a pop-culture columnist for \u003ci>San Francisco\u003c/i> magazine and an arts-and-culture editor for the \u003ci>Sacramento News & Review\u003c/i>. He still is a contributing editor at \u003ci>Maisonneuve\u003c/i> magazine and a movie critic for publications of various size, shape, disposition and value to humanity. These include, but hopefully are not limited to, \u003ci>SF Weekly\u003c/i>, the \u003ci>San Francisco Chronicle\u003c/i>, Salon, \u003ci>The New Republic\u003c/i>, \u003ci>Film Quarterly\u003c/i> and the \u003ci>New York Times Book Review\u003c/i>. Kiefer lucked into being a contributor to the 2007 Sierra Club Books anthology \u003cb>A Leaky Tent Is a Piece of Paradise: 20 Young Writers on Finding a Place in the Natural World\u003c/b>, and his book about the cinema of the San Francisco Bay Area is forthcoming (no, seriously) from City Lights Books.",
"avatar": "https://secure.gravatar.com/avatar/bef0468ea1d2f2aa212f89baa570e8e3?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Jonathan Kiefer | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/bef0468ea1d2f2aa212f89baa570e8e3?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bef0468ea1d2f2aa212f89baa570e8e3?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jkiefer"
},
"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"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557205
},
"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": 243
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 243
}
},
{
"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_29962": {
"type": "posts",
"id": "arts_29962",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29962",
"score": null,
"sort": [
1275527899000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1275527899,
"format": "standard",
"title": "Trash Humpers",
"headTitle": "Trash Humpers | KQED",
"content": "\u003cp>If you’re not already a fan of Harmony Korine’s work, you shouldn’t read this article, and you probably shouldn’t see his latest film. He called it \u003cb>Trash Humpers\u003c/b> because he wanted to be straightforward. The title is literal but the message, while veiled in grime, seems relevant.\u003c/p>\n\u003cp>Harmony Korine has been scandalizing me since I was a teenager. In the ’90s, he made \u003ca href=\"http://www.imdb.com/title/tt0113540/\">\u003cb>Kids\u003c/b>\u003c/a> with photographer Larry Clark when he was only 19. \u003cb>Kids\u003c/b> felt like a safe sex class taught by cool kids from New York. Then there was \u003ca href=\"http://www.imdb.com/title/tt0119237/\">\u003cb>Gummo\u003c/b>\u003c/a> (1997), which I saw in college. The only thing I remember about it was images of skinned rabbits and disturbing Appalachian folk. Korine’s made a couple of other films I haven’t seen, so I guess \u003cb>Trash Humpers\u003c/b> gets the honor of mentally scarring me this decade.\u003c/p>\n\u003cp>Harmony Korine and other actors (two men and a woman) are wearing old people masks in the film, which was shot on VHS in the filmmaker’s home state of Tennessee. The masks were really believable to me for some reason, especially with the low film quality. The old people traipse around town being gross and weird, smashing TVs and peeping through windows. They were partly inspired by a few elderly peeping toms Korine remembers from his old neighborhood. There is minimal dialogue, and the trash bin humping isn’t graphic, just silly, as you’d imagine. I read that the crew spent long nights living like their characters, sleeping under bridges, and being total creeps. They really got into it. In a rare monologue, Korine’s character starts out, “Sometimes when I drive through these streets at night, I can smell the pain of all these people living in here. I can smell how all of these people are just trapped in their lives, their day-to-day lives. They don’t see much.” I sensed the manifesto was coming from his personal feelings about suburban culture, but what the hell do I know?\u003c/p>\n\u003cp>I had to find some deeper meaning in the film, so I made something up: first of all, in a culture where a video of a \u003ca href=\"http://www.youtube.com/watch?v=j9-C9w1g6xE&feature=related\">smoking toddler\u003c/a> can go viral as it did last week, is trash humping any worse in terms of what fascinates us? Secondly, everything is available in HD now, but we also consume media on YouTube, where everything is grainy, like VHS. I hear using outdated technology is popular in film, like a gimmick. But I still like thinking about the filmmaker editing on two VCRs, and the blown out night shots were quite beautiful to look at. Korine sees streetlights as a symbol of American culture, and he pays a lot of attention to them in the film.\u003c/p>\n\u003cp>Speaking of American culture, I believe some regular, non-actor rednecks made cameos in \u003cb>Trash Humpers\u003c/b>. I wish they were actors because they say horrible things. Then again if they were actors, someone would’ve had to write that stuff. And that brings me to my warnings for this film: Be prepared for absurd and/or lewd imagery, foul language, and murder, which will all seem mild to any desensitized American accustomed to higher budget filmmaking. Also, you’ll hear endless screeching and cackling from the cameraman and director. He chants something like “Make it, make it, don’t fake it,” incessantly. Also, the drawn-out ending might haunt your dreams. All I’m going to say is that I watched the film, wrestled with the shock value for awhile, and then didn’t think about it for the rest of the night. Until I tried to sleep. I don’t know if it was the acting, or the make-up, or the all-around creepiness, but those characters had become so real in my mind, I was sure they were lurking outside my window.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Trash Humpers\u003c/b> plays June 3-6, 2010 at Yerba Buena Center for the Arts. On June 3 there will be a post-screening conversation with Harmony Korine via Skype. For \u003ca href=\"http://www.ybca.org/film/\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 707,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052107,
"excerpt": "If you're not already a fan of Harmony Korine's work, you shouldn't read this article, and you probably shouldn't see his latest film.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If you're not already a fan of Harmony Korine's work, you shouldn't read this article, and you probably shouldn't see his latest film.",
"title": "Trash Humpers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Trash Humpers",
"datePublished": "2010-06-02T18:18:19-07:00",
"dateModified": "2024-01-12T01:35:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "trash_humpers",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/29962/trash_humpers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re not already a fan of Harmony Korine’s work, you shouldn’t read this article, and you probably shouldn’t see his latest film. He called it \u003cb>Trash Humpers\u003c/b> because he wanted to be straightforward. The title is literal but the message, while veiled in grime, seems relevant.\u003c/p>\n\u003cp>Harmony Korine has been scandalizing me since I was a teenager. In the ’90s, he made \u003ca href=\"http://www.imdb.com/title/tt0113540/\">\u003cb>Kids\u003c/b>\u003c/a> with photographer Larry Clark when he was only 19. \u003cb>Kids\u003c/b> felt like a safe sex class taught by cool kids from New York. Then there was \u003ca href=\"http://www.imdb.com/title/tt0119237/\">\u003cb>Gummo\u003c/b>\u003c/a> (1997), which I saw in college. The only thing I remember about it was images of skinned rabbits and disturbing Appalachian folk. Korine’s made a couple of other films I haven’t seen, so I guess \u003cb>Trash Humpers\u003c/b> gets the honor of mentally scarring me this decade.\u003c/p>\n\u003cp>Harmony Korine and other actors (two men and a woman) are wearing old people masks in the film, which was shot on VHS in the filmmaker’s home state of Tennessee. The masks were really believable to me for some reason, especially with the low film quality. The old people traipse around town being gross and weird, smashing TVs and peeping through windows. They were partly inspired by a few elderly peeping toms Korine remembers from his old neighborhood. There is minimal dialogue, and the trash bin humping isn’t graphic, just silly, as you’d imagine. I read that the crew spent long nights living like their characters, sleeping under bridges, and being total creeps. They really got into it. In a rare monologue, Korine’s character starts out, “Sometimes when I drive through these streets at night, I can smell the pain of all these people living in here. I can smell how all of these people are just trapped in their lives, their day-to-day lives. They don’t see much.” I sensed the manifesto was coming from his personal feelings about suburban culture, but what the hell do I know?\u003c/p>\n\u003cp>I had to find some deeper meaning in the film, so I made something up: first of all, in a culture where a video of a \u003ca href=\"http://www.youtube.com/watch?v=j9-C9w1g6xE&feature=related\">smoking toddler\u003c/a> can go viral as it did last week, is trash humping any worse in terms of what fascinates us? Secondly, everything is available in HD now, but we also consume media on YouTube, where everything is grainy, like VHS. I hear using outdated technology is popular in film, like a gimmick. But I still like thinking about the filmmaker editing on two VCRs, and the blown out night shots were quite beautiful to look at. Korine sees streetlights as a symbol of American culture, and he pays a lot of attention to them in the film.\u003c/p>\n\u003cp>Speaking of American culture, I believe some regular, non-actor rednecks made cameos in \u003cb>Trash Humpers\u003c/b>. I wish they were actors because they say horrible things. Then again if they were actors, someone would’ve had to write that stuff. And that brings me to my warnings for this film: Be prepared for absurd and/or lewd imagery, foul language, and murder, which will all seem mild to any desensitized American accustomed to higher budget filmmaking. Also, you’ll hear endless screeching and cackling from the cameraman and director. He chants something like “Make it, make it, don’t fake it,” incessantly. Also, the drawn-out ending might haunt your dreams. All I’m going to say is that I watched the film, wrestled with the shock value for awhile, and then didn’t think about it for the rest of the night. Until I tried to sleep. I don’t know if it was the acting, or the make-up, or the all-around creepiness, but those characters had become so real in my mind, I was sure they were lurking outside my window.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Trash Humpers\u003c/b> plays June 3-6, 2010 at Yerba Buena Center for the Arts. On June 3 there will be a post-screening conversation with Harmony Korine via Skype. For \u003ca href=\"http://www.ybca.org/film/\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29962/trash_humpers",
"authors": [
"16"
],
"categories": [
"arts_74"
],
"featImg": "arts_10029962",
"label": "arts"
},
"arts_29852": {
"type": "posts",
"id": "arts_29852",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29852",
"score": null,
"sort": [
1274913310000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1274913310,
"format": "standard",
"title": "New Experimental Works at Other Cinema",
"headTitle": "New Experimental Works at Other Cinema | KQED",
"content": "\u003cp>It’s becoming increasingly clear that shorts are the last refuge of creativity in American filmmaking. Obviously, I’m not referring to the glossy narratives produced as Hollywood calling cards by film students at certain Southern California universities. Nor am I thinking about most of the amateur-hour nonsense that clogs the higher-profile video sites on the Web, although there’s little dispute that the Internet (or should I say the computer monitor) is an ideal medium for the exhibition of films that require a smaller time commitment.\u003c/p>\n\u003cp>I’m talking about personal filmmaking that rises to the level of art, and which is in damnably short supply these days. \u003ca href=\"http://www.othercinema.com/\">Other Cinema\u003c/a>, Craig Baldwin’s under-the-radar weekly underground film series at Artists Television Access in the Mission, has reliably kept the candle burning for uncompromising films and videos for, literally, decades. Tomorrow night’s edition of \u003cb>New Experimental Works\u003c/b>, the program that traditionally lowers the curtain on the seasonal calendar, is typically replete with singular, short visions.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/screen-gems.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>I was able to preview about half of the approximately 15 (!) pieces in the show, leading off with Rodney Ascher’s kooky and delirious homage to ’70s cheesiness, \u003cb>The S From Hell\u003c/b>. His starting point is the hideous red-and-yellow Screen Gems logo (underscored with a bit of nails-on-blackboard synthesizer “music”) that burst onscreen at the end of various awful TV shows. Ascher collects (real? um, maybe) interviews with adults still scarred from exposure to the logo as kids, and basically inflates a one-note joke into nine minutes of delicious diversion.\u003c/p>\n\u003cp>\u003cb>The S From Hell\u003c/b> screened at Sundance in January as did Kelly Sears’ \u003cb>Voice On the Line\u003c/b>, which exposes (real? um, maybe) domestic government eavesdropping in the name of national security during the Cold War. The contemporary parallels are obvious, but there’s something else going on in Sears’ piece, namely a virulent suspicion of technology, along with its purveyors and champions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/voice-on-line.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>This creepy and unexpected undercurrent informs most of the films I saw, from Carl Diehl’s paranoid and paranoia-inducing \u003cb>Mind Children Get Headaches\u003c/b> to Thomas Helman’s riveting yet unsettling \u003cb>df/dx\u003c/b>, a shard of nimble, black-and-white, software-generated line drawing that somehow reminded me of the cover art of a Led Zeppelin album. (What is it with all the ’70s associations?)\u003c/p>\n\u003cp>A sense of unease likewise permeates Linda Scobie’s beautiful and mesmerizing \u003cb>Road Not Taken\u003c/b>, a delicate slice of archival footage that the artist degraded, broke down and tinted. Amid a stream of men walking somewhere — the Soviet Union? — in the first half of the 20th Century (another guess), one scared, beaten-down figure stares at the camera, piercing our heart.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/road-not.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Road Not Taken\u003c/b>, with its manipulated celluloid, is an acknowledgement of the appeal of old technology. Filmmakers and partners Mark Street and Lynne Sachs second that emotion with \u003cb>Cuadro por Cuadro (Frame by Frame)\u003c/b>, a lovely little record of a workshop they taught in Montevideo, Uruguay, on hand-painted films. This ramshackle eight-minute piece, the only contemporary documentary among the batch of work I previewed, is a celebration of mass creativity and random light, fleeting seconds and happy accidents. Like the other shorts in the program, it invites you to get what you get and move on, more awake, and alive, than you were a minute ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other Cinema presents \u003cb>New Experimental Works\u003c/b> 8:30pm, Saturday, May 29, 2010 at ATA, 992 Valencia St. in San Francisco. For \u003ca href=\"http://www.othercinema.com/\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 608,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052117,
"excerpt": "Halloween is a long way off, yet Craig Baldwin's season-ending short-film show is a veritable creepfest.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Halloween is a long way off, yet Craig Baldwin's season-ending short-film show is a veritable creepfest.",
"title": "New Experimental Works at Other Cinema | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Experimental Works at Other Cinema",
"datePublished": "2010-05-26T15:35:10-07:00",
"dateModified": "2024-01-12T01:35:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new_experimental_works_at_other_cinema",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/29852/new_experimental_works_at_other_cinema",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s becoming increasingly clear that shorts are the last refuge of creativity in American filmmaking. Obviously, I’m not referring to the glossy narratives produced as Hollywood calling cards by film students at certain Southern California universities. Nor am I thinking about most of the amateur-hour nonsense that clogs the higher-profile video sites on the Web, although there’s little dispute that the Internet (or should I say the computer monitor) is an ideal medium for the exhibition of films that require a smaller time commitment.\u003c/p>\n\u003cp>I’m talking about personal filmmaking that rises to the level of art, and which is in damnably short supply these days. \u003ca href=\"http://www.othercinema.com/\">Other Cinema\u003c/a>, Craig Baldwin’s under-the-radar weekly underground film series at Artists Television Access in the Mission, has reliably kept the candle burning for uncompromising films and videos for, literally, decades. Tomorrow night’s edition of \u003cb>New Experimental Works\u003c/b>, the program that traditionally lowers the curtain on the seasonal calendar, is typically replete with singular, short visions.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/screen-gems.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>I was able to preview about half of the approximately 15 (!) pieces in the show, leading off with Rodney Ascher’s kooky and delirious homage to ’70s cheesiness, \u003cb>The S From Hell\u003c/b>. His starting point is the hideous red-and-yellow Screen Gems logo (underscored with a bit of nails-on-blackboard synthesizer “music”) that burst onscreen at the end of various awful TV shows. Ascher collects (real? um, maybe) interviews with adults still scarred from exposure to the logo as kids, and basically inflates a one-note joke into nine minutes of delicious diversion.\u003c/p>\n\u003cp>\u003cb>The S From Hell\u003c/b> screened at Sundance in January as did Kelly Sears’ \u003cb>Voice On the Line\u003c/b>, which exposes (real? um, maybe) domestic government eavesdropping in the name of national security during the Cold War. The contemporary parallels are obvious, but there’s something else going on in Sears’ piece, namely a virulent suspicion of technology, along with its purveyors and champions.\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 decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/voice-on-line.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>This creepy and unexpected undercurrent informs most of the films I saw, from Carl Diehl’s paranoid and paranoia-inducing \u003cb>Mind Children Get Headaches\u003c/b> to Thomas Helman’s riveting yet unsettling \u003cb>df/dx\u003c/b>, a shard of nimble, black-and-white, software-generated line drawing that somehow reminded me of the cover art of a Led Zeppelin album. (What is it with all the ’70s associations?)\u003c/p>\n\u003cp>A sense of unease likewise permeates Linda Scobie’s beautiful and mesmerizing \u003cb>Road Not Taken\u003c/b>, a delicate slice of archival footage that the artist degraded, broke down and tinted. Amid a stream of men walking somewhere — the Soviet Union? — in the first half of the 20th Century (another guess), one scared, beaten-down figure stares at the camera, piercing our heart.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/road-not.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Road Not Taken\u003c/b>, with its manipulated celluloid, is an acknowledgement of the appeal of old technology. Filmmakers and partners Mark Street and Lynne Sachs second that emotion with \u003cb>Cuadro por Cuadro (Frame by Frame)\u003c/b>, a lovely little record of a workshop they taught in Montevideo, Uruguay, on hand-painted films. This ramshackle eight-minute piece, the only contemporary documentary among the batch of work I previewed, is a celebration of mass creativity and random light, fleeting seconds and happy accidents. Like the other shorts in the program, it invites you to get what you get and move on, more awake, and alive, than you were a minute ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other Cinema presents \u003cb>New Experimental Works\u003c/b> 8:30pm, Saturday, May 29, 2010 at ATA, 992 Valencia St. in San Francisco. For \u003ca href=\"http://www.othercinema.com/\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29852/new_experimental_works_at_other_cinema",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10029852",
"label": "arts"
},
"arts_29802": {
"type": "posts",
"id": "arts_29802",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29802",
"score": null,
"sort": [
1274727930000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1274727930,
"format": "standard",
"title": "Conversations with John Waters",
"headTitle": "Conversations with John Waters | KQED",
"content": "\u003cp>John Waters is in town for a public conversation tomorrow night, presumably about his films and his new book, \u003cb>Role Models\u003c/b>.\u003c/p>\n\u003cp>Which means the topics of Waters’s conversation are likely to include, but not be limited to: wishing he were Johnny Mathis; having his life saved by Tennessee Williams; being really good friends with murderous brainwashed Manson girl Leslie Van Houten; wearing clothes by “genius fashion dictator” Rei Kawakubo with religious devotion; drinking with buddies in Baltimore dive bars; annotating his list of Five Books You Should Read to Live a Happy Life If Something Is Basically the Matter With You; having his grandmother frightened by Little Richard; getting to know rough-and-tumble homoerotic photographer and one-time Doggie Diner cruiser David Hurles; having his library defiled by weirdo assemblage artist Mike Kelley and fantasizing about being scribbled on by Cy Twombly; and wanting at last to accept his own responsibility as a cult leader. Should make for a pretty good evening, no?\u003c/p>\n\u003cp>Well, yes, unless you’re just hearing about this for the first time. Waters’s City Arts and Lectures event sold out last month. But his book will be in stores next month, and you can pre-order it now.\u003c/p>\n\u003cp>Waters’s ruminations on his own eclectic and variously subversive role models are particularly satisfying, not least because he’s such an eclectic and variously subversive role model himself. But the great charm of the book is its digressiveness. The Kawakubo piece, for instance, becomes a meandering tour of Waters’s fashion sense — from his appreciation of Baltimore thrift stores to the origin story of his iconic pencil moustache, “a ridiculous fashion joke that I still wear forty years later,” whose maintenance alone has yielded several funny stories. Similarly, when Waters’s deeply considered and perhaps surprisingly self-critical piece on Leslie Van Houten appeared in The Huffington Post last year, and one commenter asked, “What does the fact that the author’s girlfriend caught him in bed with a man have to do with anything?” it is safe to say the point was missed.\u003c/p>\n\u003cp>A receptive skeptic, who can somehow be bitchy and nonjudgemental at once, Waters proves an astute and highly entertaining surveyor of his and our culture. Maybe it’s because he’s just always out there, in more ways than one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m obsessed with taking public transportation in San Francisco so I can feel like a real local,” he writes. “When I get on a bus, people in the Bay Area start laughing. Not meanly….No, it’s just because they don’t expect to see me. ?What are you doing on a bus!?’ they ask, as if they expect me to have my own personal filthmobile and driver.”\u003c/p>\n\u003cp>So even if you didn’t score a ticket to his talk tonight, perhaps fate will bless you with a public Waters spotting after all. If not, don’t fret, but do follow his example. “What I like best,” Waters writes, “is staying home and reading.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>John Waters appears at City Arts and Lectures in conversation with Kevin Berger 8pm, Tuesday, May 25, 2010 at the Herbst Theatre in San Francisco. For \u003ca href=\"http://www.cityarts.net/n.waters.html\">tickets and information\u003c/a> visit cityarts.net. Waters appears at California Lectures in conversatin with Edward Ortiz 7:30pm, Wednesday, May 26, 2010 at the Crest Theatre in Sacramento. For \u003ca href=\"http://www.californialectures.com/waters.html\">tickets and information\u003c/a> visit californialectures.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 600,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052120,
"excerpt": "Topics of Waters's conversation are likely to include, but not be limited to: wishing he were Johnny Mathis; having his life saved by Tennessee Williams; drinking with buddies in Baltimore dive bars; and wanting at last to accept his own responsibility as a cult leader.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Topics of Waters's conversation are likely to include, but not be limited to: wishing he were Johnny Mathis; having his life saved by Tennessee Williams; drinking with buddies in Baltimore dive bars; and wanting at last to accept his own responsibility as a cult leader.",
"title": "Conversations with John Waters | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Conversations with John Waters",
"datePublished": "2010-05-24T12:05:30-07:00",
"dateModified": "2024-01-12T01:35:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "conversations_with_john_waters",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/performance/performance-event/",
"sticky": false,
"path": "/arts/29802/conversations_with_john_waters",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Waters is in town for a public conversation tomorrow night, presumably about his films and his new book, \u003cb>Role Models\u003c/b>.\u003c/p>\n\u003cp>Which means the topics of Waters’s conversation are likely to include, but not be limited to: wishing he were Johnny Mathis; having his life saved by Tennessee Williams; being really good friends with murderous brainwashed Manson girl Leslie Van Houten; wearing clothes by “genius fashion dictator” Rei Kawakubo with religious devotion; drinking with buddies in Baltimore dive bars; annotating his list of Five Books You Should Read to Live a Happy Life If Something Is Basically the Matter With You; having his grandmother frightened by Little Richard; getting to know rough-and-tumble homoerotic photographer and one-time Doggie Diner cruiser David Hurles; having his library defiled by weirdo assemblage artist Mike Kelley and fantasizing about being scribbled on by Cy Twombly; and wanting at last to accept his own responsibility as a cult leader. Should make for a pretty good evening, no?\u003c/p>\n\u003cp>Well, yes, unless you’re just hearing about this for the first time. Waters’s City Arts and Lectures event sold out last month. But his book will be in stores next month, and you can pre-order it now.\u003c/p>\n\u003cp>Waters’s ruminations on his own eclectic and variously subversive role models are particularly satisfying, not least because he’s such an eclectic and variously subversive role model himself. But the great charm of the book is its digressiveness. The Kawakubo piece, for instance, becomes a meandering tour of Waters’s fashion sense — from his appreciation of Baltimore thrift stores to the origin story of his iconic pencil moustache, “a ridiculous fashion joke that I still wear forty years later,” whose maintenance alone has yielded several funny stories. Similarly, when Waters’s deeply considered and perhaps surprisingly self-critical piece on Leslie Van Houten appeared in The Huffington Post last year, and one commenter asked, “What does the fact that the author’s girlfriend caught him in bed with a man have to do with anything?” it is safe to say the point was missed.\u003c/p>\n\u003cp>A receptive skeptic, who can somehow be bitchy and nonjudgemental at once, Waters proves an astute and highly entertaining surveyor of his and our culture. Maybe it’s because he’s just always out there, in more ways than one.\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’m obsessed with taking public transportation in San Francisco so I can feel like a real local,” he writes. “When I get on a bus, people in the Bay Area start laughing. Not meanly….No, it’s just because they don’t expect to see me. ?What are you doing on a bus!?’ they ask, as if they expect me to have my own personal filthmobile and driver.”\u003c/p>\n\u003cp>So even if you didn’t score a ticket to his talk tonight, perhaps fate will bless you with a public Waters spotting after all. If not, don’t fret, but do follow his example. “What I like best,” Waters writes, “is staying home and reading.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>John Waters appears at City Arts and Lectures in conversation with Kevin Berger 8pm, Tuesday, May 25, 2010 at the Herbst Theatre in San Francisco. For \u003ca href=\"http://www.cityarts.net/n.waters.html\">tickets and information\u003c/a> visit cityarts.net. Waters appears at California Lectures in conversatin with Edward Ortiz 7:30pm, Wednesday, May 26, 2010 at the Crest Theatre in Sacramento. For \u003ca href=\"http://www.californialectures.com/waters.html\">tickets and information\u003c/a> visit californialectures.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29802/conversations_with_john_waters",
"authors": [
"36"
],
"categories": [
"arts_73",
"arts_74"
],
"featImg": "arts_10029802",
"label": "arts"
},
"arts_29515": {
"type": "posts",
"id": "arts_29515",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29515",
"score": null,
"sort": [
1273532625000
]
},
"guestAuthors": [],
"slug": "adult_beginner_ballet",
"title": "Adult Beginner Ballet",
"publishDate": 1273532625,
"format": "standard",
"headTitle": "Adult Beginner Ballet | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Adult Beginner Ballet\u003c/strong> is about adults of various ages, shapes and sizes who take a beginning ballet class at the renowned Alonzo King’s LINES Dance Center in San Francisco, California. The film features Kathy Mata, a dedicated instructor, who is determined to teach adults the beautiful and technically challenging art of ballet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "View Michelle Ortega's short film, \u003cstrong>Adult Beginner Ballet\u003c/strong>, a portrait of Kathy Mata, who is determined to teach adults the beautiful and technically challenging art of ballet.",
"status": "publish",
"parent": 0,
"modified": 1726782214,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 56
},
"headData": {
"title": "Adult Beginner Ballet | KQED",
"description": "View Michelle Ortega's short film, Adult Beginner Ballet, a portrait of Kathy Mata, who is determined to teach adults the beautiful and technically challenging art of ballet.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Adult Beginner Ballet",
"datePublished": "2010-05-10T16:03:45-07:00",
"dateModified": "2024-09-19T14:43:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/trulycashorts/",
"sticky": false,
"path": "/arts/29515/adult_beginner_ballet",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Adult Beginner Ballet\u003c/strong> is about adults of various ages, shapes and sizes who take a beginning ballet class at the renowned Alonzo King’s LINES Dance Center in San Francisco, California. The film features Kathy Mata, a dedicated instructor, who is determined to teach adults the beautiful and technically challenging art of ballet.\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/29515/adult_beginner_ballet",
"authors": [
"92"
],
"categories": [
"arts_74"
],
"tags": [
"arts_345"
],
"featImg": "arts_10029515",
"label": "arts"
},
"arts_29413": {
"type": "posts",
"id": "arts_29413",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29413",
"score": null,
"sort": [
1273105459000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1273105459,
"format": "standard",
"title": "Please Give",
"headTitle": "Please Give | KQED",
"content": "\u003cp>Sometimes when I return home from work at night, a gaunt couple haunts the freeway exit ramp with a sign that begs passersby for help. I have never slowed down to give them a single dollar bill. Do I feel guilty when I ignore the destitute? Should I be generous with those less fortunate than myself? In her new movie \u003cb>Please Give\u003c/b>, the writer and director Nicole Holofcener skillfully addresses these questions, and the broader idea underlying them: what are the proper limits of altruism?\u003c/p>\n\u003cp>In another director’s hands, this subject might have been rife with sanctimony. Instead, Holofcener has made a sly, urbane comedy with several smart actresses who make her acerbic dialogue lively and believable, character-driven. In other words, \u003cb>Please Give\u003c/b> is the kind of film that Woody Allen used to make. While the milieu is the same as his — a metropolis that is largely white and middle-class — the played out scenarios, of mismatched couples fighting off each other, their neuroses and ennui (see \u003cb>Whatever Works\u003c/b> (2009)), are revivified here. You get the feeling that these aren’t just characters in an entertainment. Holofcener has captured real human foibles, the small intimate details that are integral parts of recognizable and, even familiar, personalities.\u003c/p>\n\u003cp>With her fourth feature film, Holofcener once again summons her muse in the guise of Catherine Keener. At her self-conscious best here, Keener plays Kate, a New York City resident and, along with her husband Alex (the orotund Oliver Platt), co-owner of a used but posh furniture store. Kate’s bleeding liberal heart must be the one pictured on the movie poster: she cannot walk by a street person without handing them money. Abby, her adolescent daughter, is often the shocked and outraged witness to her mother’s unsparing generosity. Why will Kate hand out a twenty-dollar bill to a stranger, but not buy her a new pair of expensive jeans? What else, besides guilt, could be the source of her mother’s behavior?\u003c/p>\n\u003cp>To begin with, Kate and Alex’s marriage stands at the friendly impasse of middle age, where watching TV together at night substitutes for connection and passion. However, their routine days, governed by the furniture business and the task of raising their sensitive, teenage daughter, are made more interesting (to themselves) as they covet the apartment next door. Once their elderly neighbor Andra dies, they’ll be able to buy it, and expand their cramped living quarters. Even though they’re blissed-out while imagining the new space, Kate feels conflicted: isn’t it contemptible to secretly hope for and be delighted by the idea of Andra’s death simply for her family’s personal gain? And what, exactly, does it mean to be a good neighbor?\u003c/p>\n\u003cp>Through Andra’s presence next door, we are introduced to her granddaughters, Mary (blithely played by Amanda Peet) and Rebecca (Rebecca Hall). Mary is an aesthetician, who is conversationally blunt, and romantically jaded after a recent break up. Rebecca works as a mammography technician, the caretaker who tends to their elderly grandmother. She is mousy, withdrawn and pathologically self-sacrificing, and I instantly responded to her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Hall first appears on screen (introduced by the film’s opening montage of bare breasts undergoing clinical examinations), I felt a sense of gratitude to Holofcener for casting her. In \u003cb>Vicky Cristina Barcelona\u003c/b> (2008), she was a wide-eyed American girl, fresh-faced and innocent, like a modern version of a Henry James heroine, or a post-feminist Breck girl. Seeing her subsequently as a pallid faced and bereft young mother in the British trilogy \u003cb>Red Riding\u003c/b> (2009) came as something of a shock. Hall is such an agile, natural actress, I mistakenly took her \u003cb>Vicky\u003c/b> performance at face value, as if she really were that American ingénue. In \u003cb>Please Give\u003c/b>, she surprised me again with her expressiveness and range.\u003c/p>\n\u003cp>It turns out that Holofcener is a humanist. She shows us the vulnerable underbelly of city people fumbling about, awkwardly competing for limited resources, whether they may be finding a decent place to live, expressing affection for a long-resented family member or just figuring out how to spend their money. As the plot progresses, all of these individuals cross paths and, to a lesser or greater extent, eventually, help each other out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cb>Please Give\u003c/b> concludes with an ambiguous final scene (that I won’t spoil), which feels contrary to what has come before, as it tidies up a narrative plot point that could have been left unresolved. Some of Kate’s anxiety is assuaged, and by extension, so is her daughter’s. Though it begs the debate: did all the conflicts and self-doubt that Kate endures truly alter her behavior toward the homeless? Should it have done so? And, finally, was the movie persuasive enough to change mine? Is it inadequate to stop there, by merely asking the question? In the end, the director suggests that only an aggrieved conscience can come up with the hard to earn and nearly extinct response to another person’s troubles: compassion.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 873,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052161,
"excerpt": "Nicole Holofcener's \u003cb>Please Give\u003c/b> is a sly, urbane comedy with several smart actresses who make her acerbic dialogue lively and believable.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Nicole Holofcener's Please Give is a sly, urbane comedy with several smart actresses who make her acerbic dialogue lively and believable.",
"title": "Please Give | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Please Give",
"datePublished": "2010-05-05T17:24:19-07:00",
"dateModified": "2024-01-12T01:36:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "please_give",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"sticky": false,
"nprStoryId": "477524229",
"path": "/arts/29413/please_give",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes when I return home from work at night, a gaunt couple haunts the freeway exit ramp with a sign that begs passersby for help. I have never slowed down to give them a single dollar bill. Do I feel guilty when I ignore the destitute? Should I be generous with those less fortunate than myself? In her new movie \u003cb>Please Give\u003c/b>, the writer and director Nicole Holofcener skillfully addresses these questions, and the broader idea underlying them: what are the proper limits of altruism?\u003c/p>\n\u003cp>In another director’s hands, this subject might have been rife with sanctimony. Instead, Holofcener has made a sly, urbane comedy with several smart actresses who make her acerbic dialogue lively and believable, character-driven. In other words, \u003cb>Please Give\u003c/b> is the kind of film that Woody Allen used to make. While the milieu is the same as his — a metropolis that is largely white and middle-class — the played out scenarios, of mismatched couples fighting off each other, their neuroses and ennui (see \u003cb>Whatever Works\u003c/b> (2009)), are revivified here. You get the feeling that these aren’t just characters in an entertainment. Holofcener has captured real human foibles, the small intimate details that are integral parts of recognizable and, even familiar, personalities.\u003c/p>\n\u003cp>With her fourth feature film, Holofcener once again summons her muse in the guise of Catherine Keener. At her self-conscious best here, Keener plays Kate, a New York City resident and, along with her husband Alex (the orotund Oliver Platt), co-owner of a used but posh furniture store. Kate’s bleeding liberal heart must be the one pictured on the movie poster: she cannot walk by a street person without handing them money. Abby, her adolescent daughter, is often the shocked and outraged witness to her mother’s unsparing generosity. Why will Kate hand out a twenty-dollar bill to a stranger, but not buy her a new pair of expensive jeans? What else, besides guilt, could be the source of her mother’s behavior?\u003c/p>\n\u003cp>To begin with, Kate and Alex’s marriage stands at the friendly impasse of middle age, where watching TV together at night substitutes for connection and passion. However, their routine days, governed by the furniture business and the task of raising their sensitive, teenage daughter, are made more interesting (to themselves) as they covet the apartment next door. Once their elderly neighbor Andra dies, they’ll be able to buy it, and expand their cramped living quarters. Even though they’re blissed-out while imagining the new space, Kate feels conflicted: isn’t it contemptible to secretly hope for and be delighted by the idea of Andra’s death simply for her family’s personal gain? And what, exactly, does it mean to be a good neighbor?\u003c/p>\n\u003cp>Through Andra’s presence next door, we are introduced to her granddaughters, Mary (blithely played by Amanda Peet) and Rebecca (Rebecca Hall). Mary is an aesthetician, who is conversationally blunt, and romantically jaded after a recent break up. Rebecca works as a mammography technician, the caretaker who tends to their elderly grandmother. She is mousy, withdrawn and pathologically self-sacrificing, and I instantly responded to her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Hall first appears on screen (introduced by the film’s opening montage of bare breasts undergoing clinical examinations), I felt a sense of gratitude to Holofcener for casting her. In \u003cb>Vicky Cristina Barcelona\u003c/b> (2008), she was a wide-eyed American girl, fresh-faced and innocent, like a modern version of a Henry James heroine, or a post-feminist Breck girl. Seeing her subsequently as a pallid faced and bereft young mother in the British trilogy \u003cb>Red Riding\u003c/b> (2009) came as something of a shock. Hall is such an agile, natural actress, I mistakenly took her \u003cb>Vicky\u003c/b> performance at face value, as if she really were that American ingénue. In \u003cb>Please Give\u003c/b>, she surprised me again with her expressiveness and range.\u003c/p>\n\u003cp>It turns out that Holofcener is a humanist. She shows us the vulnerable underbelly of city people fumbling about, awkwardly competing for limited resources, whether they may be finding a decent place to live, expressing affection for a long-resented family member or just figuring out how to spend their money. As the plot progresses, all of these individuals cross paths and, to a lesser or greater extent, eventually, help each other out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cb>Please Give\u003c/b> concludes with an ambiguous final scene (that I won’t spoil), which feels contrary to what has come before, as it tidies up a narrative plot point that could have been left unresolved. Some of Kate’s anxiety is assuaged, and by extension, so is her daughter’s. Though it begs the debate: did all the conflicts and self-doubt that Kate endures truly alter her behavior toward the homeless? Should it have done so? And, finally, was the movie persuasive enough to change mine? Is it inadequate to stop there, by merely asking the question? In the end, the director suggests that only an aggrieved conscience can come up with the hard to earn and nearly extinct response to another person’s troubles: compassion.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29413/please_give",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"featImg": "arts_10029413",
"label": "arts"
},
"arts_29408": {
"type": "posts",
"id": "arts_29408",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29408",
"score": null,
"sort": [
1273104181000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1273104181,
"format": "standard",
"title": "To the Limit: Pina Bausch on Film",
"headTitle": "To the Limit: Pina Bausch on Film | KQED",
"content": "\u003cp>Pina Bausch had an outrageous idea, retrospectively a no-brainer: that the preposterousness of human existence, so thoroughly explored by the other arts, could also inspire modern dance.\u003c/p>\n\u003cp>Putting that idea into practice would yield a marvelous series of adjustments, crumplings, readjustments, tenacious embraces, accelerating failures and spectacular successes of physical communication. And Bausch’s work became at once more mesmerizing and more prone to audience walkouts. Who knew physical honesty could yield such artiness?\u003c/p>\n\u003cp>Yerba Buena’s rich retrospective, \u003cb>To the Limit: Pina Bausch on Film\u003c/b>, reintroduces the famed German choreographer, who died within days of a cancer diagnosis at age 68 last year, and reiterates the pleasure and privilege of watching her work. What a figure she cut, with that long forlorn face and ropy frame, like a Giacometti sculpture come to life. Her performances, accordingly, could seem sometimes like perfectly embodied anguish.\u003c/p>\n\u003cp>“Bausch has left a deep print in America,” Joan Acocella wrote in the \u003ci>New Yorker\u003c/i> in 2002. “In New York’s ‘downtown’ dance scene of the late eighties, dancing was largely replaced by a violent sort of drama, in which, very often, someone was dying and the audience was to blame. If I had to name the reasons for that, the first would be AIDS and the second would be the 1984 American debut of Bausch’s company, the Tanztheater Wuppertal.”\u003c/p>\n\u003cp>How’s that for a legacy? Well, incomplete. Yes, Basuch liked to work in sketch-like scenarios, and in a sexually charged theater of cruelty, often delineating the uneasy boundaries between heavy petting and patting down, between slapstick comedy and sadism. But as she aged, she lightened up. Some of what her performances describe is joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may seem futile to try containing these impulses in two-dimensional moving pictures, but the beauty of Bausch’s work is that being uncontainable keeps it cinematic. There is a reason Fellini cast her in \u003cb>And the Ship Sails On\u003c/b> as a blind princess, a soul so sensitive that she could detect colors in people’s voices.\u003c/p>\n\u003cp>Yerba Buena’s cycle includes several video recordings of Bausch’s pieces, like the seminal \u003cb>Café Müller\u003c/b>, a stylishly shellshocked remembrance of the cafe her parents ran in postwar Germany. But the popular highlight probably will be the American premiere of \u003cb>Dancing Dreams\u003c/b>, a 2010 Berlin Film Festival sensation that documents a group of teenagers rehearsing and performing Bausch’s \u003cb>Kontakthof\u003c/b>. It is the sort of choreography that arranges performers in anxiously stratified gender groups, as if on opposite sides of a high-school dance hall, and compels instructors to ask of them, “Why don’t you dare?” It’s funny, racy and replete with too much information. You can see its appeal for adolescents.\u003c/p>\n\u003cp>“You’re best when you’re yourselves,” Bausch tells the class. It’s clear at once how right she is — and how righteous is the project of channeling spazzy Teutonic teendom into some kind of grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>To the Limit: Pina Bausch on Film\u003c/b> plays May 6, 13, 23, and 27-30, 2010 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 555,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052162,
"excerpt": "Pina Bausch had an outrageous idea, retrospectively a no-brainer: that the preposterousness of human existence, so thoroughly explored by the other arts, could also inspire modern dance.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Pina Bausch had an outrageous idea, retrospectively a no-brainer: that the preposterousness of human existence, so thoroughly explored by the other arts, could also inspire modern dance.",
"title": "To the Limit: Pina Bausch on Film | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "To the Limit: Pina Bausch on Film",
"datePublished": "2010-05-05T17:03:01-07:00",
"dateModified": "2024-01-12T01:36:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "to_the_limit_pina_bausch_on_film",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"sticky": false,
"path": "/arts/29408/to_the_limit_pina_bausch_on_film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pina Bausch had an outrageous idea, retrospectively a no-brainer: that the preposterousness of human existence, so thoroughly explored by the other arts, could also inspire modern dance.\u003c/p>\n\u003cp>Putting that idea into practice would yield a marvelous series of adjustments, crumplings, readjustments, tenacious embraces, accelerating failures and spectacular successes of physical communication. And Bausch’s work became at once more mesmerizing and more prone to audience walkouts. Who knew physical honesty could yield such artiness?\u003c/p>\n\u003cp>Yerba Buena’s rich retrospective, \u003cb>To the Limit: Pina Bausch on Film\u003c/b>, reintroduces the famed German choreographer, who died within days of a cancer diagnosis at age 68 last year, and reiterates the pleasure and privilege of watching her work. What a figure she cut, with that long forlorn face and ropy frame, like a Giacometti sculpture come to life. Her performances, accordingly, could seem sometimes like perfectly embodied anguish.\u003c/p>\n\u003cp>“Bausch has left a deep print in America,” Joan Acocella wrote in the \u003ci>New Yorker\u003c/i> in 2002. “In New York’s ‘downtown’ dance scene of the late eighties, dancing was largely replaced by a violent sort of drama, in which, very often, someone was dying and the audience was to blame. If I had to name the reasons for that, the first would be AIDS and the second would be the 1984 American debut of Bausch’s company, the Tanztheater Wuppertal.”\u003c/p>\n\u003cp>How’s that for a legacy? Well, incomplete. Yes, Basuch liked to work in sketch-like scenarios, and in a sexually charged theater of cruelty, often delineating the uneasy boundaries between heavy petting and patting down, between slapstick comedy and sadism. But as she aged, she lightened up. Some of what her performances describe is joy.\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>It may seem futile to try containing these impulses in two-dimensional moving pictures, but the beauty of Bausch’s work is that being uncontainable keeps it cinematic. There is a reason Fellini cast her in \u003cb>And the Ship Sails On\u003c/b> as a blind princess, a soul so sensitive that she could detect colors in people’s voices.\u003c/p>\n\u003cp>Yerba Buena’s cycle includes several video recordings of Bausch’s pieces, like the seminal \u003cb>Café Müller\u003c/b>, a stylishly shellshocked remembrance of the cafe her parents ran in postwar Germany. But the popular highlight probably will be the American premiere of \u003cb>Dancing Dreams\u003c/b>, a 2010 Berlin Film Festival sensation that documents a group of teenagers rehearsing and performing Bausch’s \u003cb>Kontakthof\u003c/b>. It is the sort of choreography that arranges performers in anxiously stratified gender groups, as if on opposite sides of a high-school dance hall, and compels instructors to ask of them, “Why don’t you dare?” It’s funny, racy and replete with too much information. You can see its appeal for adolescents.\u003c/p>\n\u003cp>“You’re best when you’re yourselves,” Bausch tells the class. It’s clear at once how right she is — and how righteous is the project of channeling spazzy Teutonic teendom into some kind of grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>To the Limit: Pina Bausch on Film\u003c/b> plays May 6, 13, 23, and 27-30, 2010 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29408/to_the_limit_pina_bausch_on_film",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10029408",
"label": "arts"
},
"arts_29147": {
"type": "posts",
"id": "arts_29147",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29147",
"score": null,
"sort": [
1271972182000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271972182,
"format": "standard",
"title": "Stereo Sound and Vision",
"headTitle": "Stereo Sound and Vision | KQED",
"content": "\u003cp>To prepare for getting the word out about Other Cinema’s \u003cb>Stereo Sound and Vision\u003c/b> 3D extravaganza this Saturday at the ATA, I contacted the evening’s featured performer, locally-based moving-image artist Kerry Laitala, and asked for a sneak peek at her recent work.\u003c/p>\n\u003cp>Laitala kindly supplied me with a vividly colorful little hand-made press kit, containing a DVD, some notes, and a pair of ChromaDepth 3D glasses, recommended for the optimal viewing experience. I noticed in the notes that she doesn’t call them films. She calls them “some 3D color/light/motion experiments.”\u003c/p>\n\u003cp>That’s deep. No, really, it is. Like, literally: 3D deep. ChromaDepth is a stereoscopic color diffraction effect that brings planes of depth — a distinctly “whoa-cool” foreground and background — into view. It’s the difference between looking at an image and looking inside it. And Laitala does wonders with it.\u003c/p>\n\u003cp>Of course, watching 3D color/light/motion experiments at home on the plasma screen is not truly optimal, but the glasses helped. It was tempting, and enlightening, to flip them off and on to see the difference they make. But it was also dangerous. Inside the frames, where it says, “Do not look into the sun with glasses,” it should also say, “Keep the glasses on, or off, but make up your mind or else your mind will ache.”\u003c/p>\n\u003cp>On Saturday, Laitala will be showing her stuff with a live performance by the electronically infectious bleep-booping Bay Area music concern known as Eats Tapes. You may know Eats Tapes from such compositions as “Face Shredder” and “Yes You Didn’t.” Well, now you do, anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, to approximate this scene, I called up Eats Tapes’ Myspace page, then donned some fancy headphones and of course the ChromaDepth specs (“not for extended wear, performing physical activity, driving or operating machinery”), and let fly with the kaleidoscopic crystalline abstractions, brightly throbbing pustules and blurred, blinking orbs of Laitala’s \u003cb>Chromatic Frenzy\u003c/b>, one of the definites in Saturday’s show. She describes this otherwise silent work as “a colorful cauldron where primaries are mixed to create a cornucopia of suspended and refracted spectrums of light.” Yes, that, or a narrowly averted lysergic catastrophe. Or maybe an inventive elaboration on some fond memory of original-series \u003cb>Star Trek\u003c/b> special effects. \u003cb>Chromatic Frenzy\u003c/b>, like a lot of Laitala’s work, can be many things to many people. It’s brilliant. Also, it works well with sounds made by Eats Tapes.\u003c/p>\n\u003cp>The evening will also include multi-screen works by Pad McLaughlin and Bob Bloomberg, plus Oakland artist Walter Funk’s \u003cb>Hologlyphics\u003c/b>, a live-action abstract sonic animation installation so insanely 3D that you don’t even need the glasses.\u003c/p>\n\u003cp>Wow. It just keeps getting deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Stereo Sound and Vision\u003c/b> will appear on Saturday, April 24, 2010 at 8:30pm at Artists Television Access, 992 Valencia Street in San Francisco. For \u003ca href=\"http://www.othercinema.com\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 523,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052185,
"excerpt": "Kerry Laitala and Eats Tapes team up for \u003cb>Stereo Sound and Vision\u003c/b>, a \"colorful 3D cauldron\" with infectious bleep-booping, multi-screen madness and a live-action abstract sonic animation installation. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Kerry Laitala and Eats Tapes team up for Stereo Sound and Vision, a "colorful 3D cauldron" with infectious bleep-booping, multi-screen madness and a live-action abstract sonic animation installation. ",
"title": "Stereo Sound and Vision | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Stereo Sound and Vision",
"datePublished": "2010-04-22T14:36:22-07:00",
"dateModified": "2024-01-12T01:36:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "stereo_sound_and_vision",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/29147/stereo_sound_and_vision",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To prepare for getting the word out about Other Cinema’s \u003cb>Stereo Sound and Vision\u003c/b> 3D extravaganza this Saturday at the ATA, I contacted the evening’s featured performer, locally-based moving-image artist Kerry Laitala, and asked for a sneak peek at her recent work.\u003c/p>\n\u003cp>Laitala kindly supplied me with a vividly colorful little hand-made press kit, containing a DVD, some notes, and a pair of ChromaDepth 3D glasses, recommended for the optimal viewing experience. I noticed in the notes that she doesn’t call them films. She calls them “some 3D color/light/motion experiments.”\u003c/p>\n\u003cp>That’s deep. No, really, it is. Like, literally: 3D deep. ChromaDepth is a stereoscopic color diffraction effect that brings planes of depth — a distinctly “whoa-cool” foreground and background — into view. It’s the difference between looking at an image and looking inside it. And Laitala does wonders with it.\u003c/p>\n\u003cp>Of course, watching 3D color/light/motion experiments at home on the plasma screen is not truly optimal, but the glasses helped. It was tempting, and enlightening, to flip them off and on to see the difference they make. But it was also dangerous. Inside the frames, where it says, “Do not look into the sun with glasses,” it should also say, “Keep the glasses on, or off, but make up your mind or else your mind will ache.”\u003c/p>\n\u003cp>On Saturday, Laitala will be showing her stuff with a live performance by the electronically infectious bleep-booping Bay Area music concern known as Eats Tapes. You may know Eats Tapes from such compositions as “Face Shredder” and “Yes You Didn’t.” Well, now you do, anyway.\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>So, to approximate this scene, I called up Eats Tapes’ Myspace page, then donned some fancy headphones and of course the ChromaDepth specs (“not for extended wear, performing physical activity, driving or operating machinery”), and let fly with the kaleidoscopic crystalline abstractions, brightly throbbing pustules and blurred, blinking orbs of Laitala’s \u003cb>Chromatic Frenzy\u003c/b>, one of the definites in Saturday’s show. She describes this otherwise silent work as “a colorful cauldron where primaries are mixed to create a cornucopia of suspended and refracted spectrums of light.” Yes, that, or a narrowly averted lysergic catastrophe. Or maybe an inventive elaboration on some fond memory of original-series \u003cb>Star Trek\u003c/b> special effects. \u003cb>Chromatic Frenzy\u003c/b>, like a lot of Laitala’s work, can be many things to many people. It’s brilliant. Also, it works well with sounds made by Eats Tapes.\u003c/p>\n\u003cp>The evening will also include multi-screen works by Pad McLaughlin and Bob Bloomberg, plus Oakland artist Walter Funk’s \u003cb>Hologlyphics\u003c/b>, a live-action abstract sonic animation installation so insanely 3D that you don’t even need the glasses.\u003c/p>\n\u003cp>Wow. It just keeps getting deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Stereo Sound and Vision\u003c/b> will appear on Saturday, April 24, 2010 at 8:30pm at Artists Television Access, 992 Valencia Street in San Francisco. For \u003ca href=\"http://www.othercinema.com\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29147/stereo_sound_and_vision",
"authors": [
"128"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10029147",
"label": "arts"
},
"arts_29118": {
"type": "posts",
"id": "arts_29118",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29118",
"score": null,
"sort": [
1271899001000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271899001,
"format": "standard",
"title": "The Secret in Their Eyes",
"headTitle": "The Secret in Their Eyes | KQED",
"content": "\u003cp>If you’re not a historian of Argentine politics, then your knowledge of the country’s recent past may be comparable to mine. In other words, I did see the musical \u003cb>Evita\u003c/b> on stage, and, unfortunately, years later on screen. With this year’s Oscar winner for Foreign Language Film, I had to do some research to absorb the full impact of \u003cb>The Secret in Their Eyes (El Secreto de Sus Ojos) \u003c/b>.\u003c/p>\n\u003cp>According to Argentina’s profile on the U.S. Department of State’s web site, from 1976 to 1983, thousands of citizens “disappeared” under the military dictatorship that ruled the country. The film is set both during and after this period of turmoil, and evokes a lawless age, when brutal crimes went routinely unsolved. Ordinary citizens disappeared right out of their everyday lives. Family members were suddenly bereft, and then haunted by the unexplained absence of a loved one.\u003c/p>\n\u003cp>If, as the film suggests, the police force colluded with the government, and were of no help to the grieving families, to whom then could they ask for retribution? \u003cb>The Secret in Their Eyes\u003c/b> attempts to answer that question by focusing on the death of one particular woman, Liliana. By devising a non-linear structure, the director/screenwriter, Juan José Campanella, turned an otherwise conventional narrative into a memory play, elevating the story into something more than a didactic history lesson.\u003c/p>\n\u003cp>The main character is an uncorrupted official in the justice department named Benjamin Esposito. The movie, as it plays with time, is bookended by the present, after his retirement. Through his memory of the investigation into Liliana’s death, we witness the emotional devastation of a husband, after the rape and murder of his lovely, young wife. This story runs parallel to Benjamin’s own, which involves the unrequited love he feels for his boss, an upper class lawyer who is out of his league. The use of these extended flashbacks is reminiscent of scenes from \u003cb>The English Patient\u003c/b> (1996), or \u003cb>Casablanca\u003c/b> (1942), in which the pursuit of love is trivial while war guts innocent people to the bone.\u003c/p>\n\u003cp>\u003cb>The Secret in Their Eyes\u003c/b> is this director’s second film to be nominated for a foreign language Academy Award. The first, \u003cb>Son of the Bride\u003c/b> (2001), was an achingly sentimental account of one man’s midlife crisis. It lost the prize that year to \u003cb>No Man’s Land\u003c/b>, from Bosnia and Herzegovina, which documented the opposing sides of that conflict. Among the category’s losers this year were Michael Haneke’s \u003cb>The White Ribbon\u003c/b> and Jacques Audiard’s \u003cb>A Prophet\u003c/b>. \u003cb>The Secret\u003c/b> is no more technically accomplished, nor more affecting than either of those films. Was it the combination of romantic longing, suspense and regret that swayed the sympathies of the Academy members? Regardless, what lends this film its power are the personal and political traumas that Argentina sustained during its “Dirty War.” And, despite a maudlin final scene, I couldn’t begrudge the film its happy ending: after all that country’s sorrow, it felt earned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Secret in Their Eyes\u003c/b> opens April 23, 2010.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 540,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052188,
"excerpt": "With this year's Oscar winner for Foreign Language Film, I had to do some research to absorb the full impact of \u003cb>The Secret in Their Eyes (El Secreto de Sus Ojos) \u003c/b>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With this year's Oscar winner for Foreign Language Film, I had to do some research to absorb the full impact of The Secret in Their Eyes (El Secreto de Sus Ojos) .",
"title": "The Secret in Their Eyes | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Secret in Their Eyes",
"datePublished": "2010-04-21T18:16:41-07:00",
"dateModified": "2024-01-12T01:36:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_secret_in_their_eyes",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"nprStoryId": "477524367",
"path": "/arts/29118/the_secret_in_their_eyes",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re not a historian of Argentine politics, then your knowledge of the country’s recent past may be comparable to mine. In other words, I did see the musical \u003cb>Evita\u003c/b> on stage, and, unfortunately, years later on screen. With this year’s Oscar winner for Foreign Language Film, I had to do some research to absorb the full impact of \u003cb>The Secret in Their Eyes (El Secreto de Sus Ojos) \u003c/b>.\u003c/p>\n\u003cp>According to Argentina’s profile on the U.S. Department of State’s web site, from 1976 to 1983, thousands of citizens “disappeared” under the military dictatorship that ruled the country. The film is set both during and after this period of turmoil, and evokes a lawless age, when brutal crimes went routinely unsolved. Ordinary citizens disappeared right out of their everyday lives. Family members were suddenly bereft, and then haunted by the unexplained absence of a loved one.\u003c/p>\n\u003cp>If, as the film suggests, the police force colluded with the government, and were of no help to the grieving families, to whom then could they ask for retribution? \u003cb>The Secret in Their Eyes\u003c/b> attempts to answer that question by focusing on the death of one particular woman, Liliana. By devising a non-linear structure, the director/screenwriter, Juan José Campanella, turned an otherwise conventional narrative into a memory play, elevating the story into something more than a didactic history lesson.\u003c/p>\n\u003cp>The main character is an uncorrupted official in the justice department named Benjamin Esposito. The movie, as it plays with time, is bookended by the present, after his retirement. Through his memory of the investigation into Liliana’s death, we witness the emotional devastation of a husband, after the rape and murder of his lovely, young wife. This story runs parallel to Benjamin’s own, which involves the unrequited love he feels for his boss, an upper class lawyer who is out of his league. The use of these extended flashbacks is reminiscent of scenes from \u003cb>The English Patient\u003c/b> (1996), or \u003cb>Casablanca\u003c/b> (1942), in which the pursuit of love is trivial while war guts innocent people to the bone.\u003c/p>\n\u003cp>\u003cb>The Secret in Their Eyes\u003c/b> is this director’s second film to be nominated for a foreign language Academy Award. The first, \u003cb>Son of the Bride\u003c/b> (2001), was an achingly sentimental account of one man’s midlife crisis. It lost the prize that year to \u003cb>No Man’s Land\u003c/b>, from Bosnia and Herzegovina, which documented the opposing sides of that conflict. Among the category’s losers this year were Michael Haneke’s \u003cb>The White Ribbon\u003c/b> and Jacques Audiard’s \u003cb>A Prophet\u003c/b>. \u003cb>The Secret\u003c/b> is no more technically accomplished, nor more affecting than either of those films. Was it the combination of romantic longing, suspense and regret that swayed the sympathies of the Academy members? Regardless, what lends this film its power are the personal and political traumas that Argentina sustained during its “Dirty War.” And, despite a maudlin final scene, I couldn’t begrudge the film its happy ending: after all that country’s sorrow, it felt earned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Secret in Their Eyes\u003c/b> opens April 23, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29118/the_secret_in_their_eyes",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"featImg": "arts_10029118",
"label": "arts"
},
"arts_29110": {
"type": "posts",
"id": "arts_29110",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29110",
"score": null,
"sort": [
1271879031000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271879031,
"format": "standard",
"title": "San Francisco International Film Festival 2010",
"headTitle": "San Francisco International Film Festival 2010 | KQED",
"content": "\u003cp>Every attendee of a major league-sized film festival has a distinct experience, because each gets a different, limited grip on the elephant. (The exceptions are those obsessive, privileged souls with the time, stamina and money to see two or three \u003ci>dozen\u003c/i> movies in 15 days. Envy them.) That said, my preview of a host of San Francisco International Film Festival selections suggests an exceptionally challenging and rewarding lineup. Don’t read “challenging” as “artsy and inaccessible,” but rather as a signal that the programming honchos haven’t shied away from the brutal realities, uncertain futures and tough questions ricocheting and echoing around the globe.\u003c/p>\n\u003cp>Such heavy thoughts are tabled on opening night, when the sponsors and glitterati are plied with drinks and a feel-good movie. \u003cb>Micmacs\u003c/b>, the latest assemblage of mismatched Gallic bric-a-brac from Jean-Pierre Jeunet (\u003cb>Amelie\u003c/b>), involves a gang of cheerful outcasts who orchestrate a war between two rival armaments manufacturers. The absurd machinations and permutations generate no emotional impact, partly because the plot’s set-up is absurdly, unnecessarily convoluted and partly because none of the characters (or actors) make much of an impression. The movie does evoke, to its detriment, fond memories of \u003ci>Mad\u003c/i> magazine’s \u003cb>Spy vs. Spy\u003c/b>. \u003cb>Micmacs\u003c/b> opens theatrically June 11.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-soul-kitchen.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Soul Kitchen” by Fatih Akin\u003c/p>\n\u003cp>The movies of border-hopping, culture-melding German director Fatih Akin (\u003cb>Head On\u003c/b>, \u003cb>The Edge of Heaven\u003c/b>) boast the best soundtracks of any filmmaker working today. (Yes, I’m familiar with Martin Scorsese and Jonathan Demme.) \u003cb>Soul Kitchen\u003c/b> provides further evidence of Akin’s exceptional ear, with a rockin’ mix tape anchoring a rambunctious, rowdy tale. Set in and around a roadside restaurant in Akin’s native Hamburg, the movie juggles slacker drama and social farce to largely entertaining effect, but overstays its welcome by a good 10 minutes’ worth of shenanigans. The film, which received a special jury prize at Venice last fall, is also scheduled to open after the festival.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-russian-lessons.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Russian Lessons” by Konskaya and Nekrasov\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the documentary side, it’s difficult to imagine a gutsier, more determined example of investigative journalism than Olga Konskaya and Andrei Nekrasov’s harrowing \u003cb>Russian Lessons\u003c/b>. When war broke out between Russia and Georgia in 2008, the St. Petersburg duo trekked to the scene to record what was really happening (as opposed to what Vladimir Putin told the world). Their images from the front lines are raw and shocking, and essential. The filmmakers subsequently return to their offices and, watching Russian authorities revise history before their eyes on television, compile visual evidence to debunk the lies. \u003cb>Russian Lessons\u003c/b> is invaluable for obvious reasons, but an American viewer watches and yearns for even one journalist with Konskaya and Nekrasov’s courage and integrity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-14-18.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“14-18” by Jean-Francois Dellasus\u003c/p>\n\u003cp>\u003cb>Russian Lessons\u003c/b> grabs us with its handheld urgency, but it’s a challenge to viscerally depict distant history rendered in black-and-white archival footage. In \u003cb>14-18: The Noise and the Fury\u003c/b>, Jean-Francois Dellasus adds color tinting and a wry, acerbic (and fictional) narrator to make World War I relevant to the YouTube generation. It may well be an effective approach for younger moviegoers (and television viewers — it was made for French TV), but personally, I have no problem connecting with B&W images. To the contrary, I feel their weight as artifacts, and respond to their grit and poignancy. I encourage you to check out \u003cb>14-18\u003c/b> and examine your own response.\u003c/p>\n\u003cp>Speaking of real wars reshaped and reimagined for the screen, \u003cb>Lebanon\u003c/b> delivers in spades for those hankering for another stomach-churning war movie — or rather, war-is-pointless movie — since \u003cb>The Hurt Locker\u003c/b>. Set entirely in a dank, smelly tank on the first day of the 1982 Israeli invasion of Lebanon, director Samuel Maoz’s debut feature (winner of the Golden Lion at Venice) is a semi-autobiographical, ultra-intense portrait of untrained, inexperienced and ill-equipped soldiers sent out into the world with massive firepower. Like \u003cb>Beaufort\u003c/b> and \u003cb>Waltz With Bashir\u003c/b>, the previous Israeli films about the war, \u003cb>Lebanon\u003c/b> exposes the country’s absentee leadership as distant, disembodied voices on the radio. Maoz is slated to attend the festival, in anticipation of the film’s August theatrical release.\u003c/p>\n\u003cp>Skipping across the border to a different neighboring country, Arab-Canadian filmmaker Ruba Nadda delivers a dud with \u003cb>Cairo Time\u003c/b>, the slight, languid tale of an American woman — a UN diplomat’s wife — at loose ends in the capital. Both the passive central character and Patricia Clarkson’s performance evaporate off the screen before our eyes, leaving nothing but ephemeral snapshots of Cairo. The film aims to be evocative but is fatally underwritten; even as a travelogue, it’s barely worth the time. But the director and star are scheduled to be on hand for the fest screenings; \u003cb>Cairo Time\u003c/b> also has a date with theaters later this year.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-utopia.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Utopia in Four Movements” by Sam Green\u003c/p>\n\u003cp>Ace local documentary maker Sam Green (\u003cb>The Weather Underground\u003c/b>) has been attracted for a long time to expressions of idealism. (If Obama’s Presidential campaign comes to mind, you need to think bigger, and smaller.) Esperanto, a time capsule buried in 1939, an enormous (and failed) shopping mall in an out-of-the-way Chinese city — these endeavors reflect the human yearning for connection, community, peace and immortality. Green hosts and narrates \u003cb>Utopia in Four Movements\u003c/b> in person with live musical accompaniment from sound artists Dave Cerf and the Quavers (from Brooklyn), infusing the normally passive filmgoing experience with a welcome and profoundly amusing immediacy.\u003c/p>\n\u003cp>On my way out the door to catch yet another movie, let me leave you with a few more recommendations: The dreamy, autobiographical reenacted documentary \u003cb>Port of Memory\u003c/b> from Palestine; the marvelous and mysterious Iranian parable \u003cb>The White Meadows\u003c/b>; the quirky American-artist portrait \u003cb>Marwencol\u003c/b> (U.S.) and the righteously indignant documentary \u003cb>Presumed Guilty\u003c/b> from Mexico. Pick any one, or pick another film altogether. But by all means experience the festival.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The San Francisco International Film Festival runs April 22 through May 6, 2010, at the Castro Theatre, Clay Theare and Sundance Kabuki Cinemas in San Francisco and the Pacific Film Archive in Berkeley. For \u003ca href=\"http://fest10.sffs.org/\">tickets and information\u003c/a> visit sffs.org or call (925) 866-9559.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1088,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705052190,
"excerpt": "The 53rd edition, kicking off tonight, is strewn with prickly relationships and hard truths.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 53rd edition, kicking off tonight, is strewn with prickly relationships and hard truths.",
"title": "San Francisco International Film Festival 2010 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco International Film Festival 2010",
"datePublished": "2010-04-21T12:43:51-07:00",
"dateModified": "2024-01-12T01:36:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "san_francisco_international_film_festival_2010",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/literature/literature-festivalreport/",
"sticky": false,
"path": "/arts/29110/san_francisco_international_film_festival_2010",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every attendee of a major league-sized film festival has a distinct experience, because each gets a different, limited grip on the elephant. (The exceptions are those obsessive, privileged souls with the time, stamina and money to see two or three \u003ci>dozen\u003c/i> movies in 15 days. Envy them.) That said, my preview of a host of San Francisco International Film Festival selections suggests an exceptionally challenging and rewarding lineup. Don’t read “challenging” as “artsy and inaccessible,” but rather as a signal that the programming honchos haven’t shied away from the brutal realities, uncertain futures and tough questions ricocheting and echoing around the globe.\u003c/p>\n\u003cp>Such heavy thoughts are tabled on opening night, when the sponsors and glitterati are plied with drinks and a feel-good movie. \u003cb>Micmacs\u003c/b>, the latest assemblage of mismatched Gallic bric-a-brac from Jean-Pierre Jeunet (\u003cb>Amelie\u003c/b>), involves a gang of cheerful outcasts who orchestrate a war between two rival armaments manufacturers. The absurd machinations and permutations generate no emotional impact, partly because the plot’s set-up is absurdly, unnecessarily convoluted and partly because none of the characters (or actors) make much of an impression. The movie does evoke, to its detriment, fond memories of \u003ci>Mad\u003c/i> magazine’s \u003cb>Spy vs. Spy\u003c/b>. \u003cb>Micmacs\u003c/b> opens theatrically June 11.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-soul-kitchen.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Soul Kitchen” by Fatih Akin\u003c/p>\n\u003cp>The movies of border-hopping, culture-melding German director Fatih Akin (\u003cb>Head On\u003c/b>, \u003cb>The Edge of Heaven\u003c/b>) boast the best soundtracks of any filmmaker working today. (Yes, I’m familiar with Martin Scorsese and Jonathan Demme.) \u003cb>Soul Kitchen\u003c/b> provides further evidence of Akin’s exceptional ear, with a rockin’ mix tape anchoring a rambunctious, rowdy tale. Set in and around a roadside restaurant in Akin’s native Hamburg, the movie juggles slacker drama and social farce to largely entertaining effect, but overstays its welcome by a good 10 minutes’ worth of shenanigans. The film, which received a special jury prize at Venice last fall, is also scheduled to open after the festival.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-russian-lessons.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Russian Lessons” by Konskaya and Nekrasov\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>On the documentary side, it’s difficult to imagine a gutsier, more determined example of investigative journalism than Olga Konskaya and Andrei Nekrasov’s harrowing \u003cb>Russian Lessons\u003c/b>. When war broke out between Russia and Georgia in 2008, the St. Petersburg duo trekked to the scene to record what was really happening (as opposed to what Vladimir Putin told the world). Their images from the front lines are raw and shocking, and essential. The filmmakers subsequently return to their offices and, watching Russian authorities revise history before their eyes on television, compile visual evidence to debunk the lies. \u003cb>Russian Lessons\u003c/b> is invaluable for obvious reasons, but an American viewer watches and yearns for even one journalist with Konskaya and Nekrasov’s courage and integrity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-14-18.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“14-18” by Jean-Francois Dellasus\u003c/p>\n\u003cp>\u003cb>Russian Lessons\u003c/b> grabs us with its handheld urgency, but it’s a challenge to viscerally depict distant history rendered in black-and-white archival footage. In \u003cb>14-18: The Noise and the Fury\u003c/b>, Jean-Francois Dellasus adds color tinting and a wry, acerbic (and fictional) narrator to make World War I relevant to the YouTube generation. It may well be an effective approach for younger moviegoers (and television viewers — it was made for French TV), but personally, I have no problem connecting with B&W images. To the contrary, I feel their weight as artifacts, and respond to their grit and poignancy. I encourage you to check out \u003cb>14-18\u003c/b> and examine your own response.\u003c/p>\n\u003cp>Speaking of real wars reshaped and reimagined for the screen, \u003cb>Lebanon\u003c/b> delivers in spades for those hankering for another stomach-churning war movie — or rather, war-is-pointless movie — since \u003cb>The Hurt Locker\u003c/b>. Set entirely in a dank, smelly tank on the first day of the 1982 Israeli invasion of Lebanon, director Samuel Maoz’s debut feature (winner of the Golden Lion at Venice) is a semi-autobiographical, ultra-intense portrait of untrained, inexperienced and ill-equipped soldiers sent out into the world with massive firepower. Like \u003cb>Beaufort\u003c/b> and \u003cb>Waltz With Bashir\u003c/b>, the previous Israeli films about the war, \u003cb>Lebanon\u003c/b> exposes the country’s absentee leadership as distant, disembodied voices on the radio. Maoz is slated to attend the festival, in anticipation of the film’s August theatrical release.\u003c/p>\n\u003cp>Skipping across the border to a different neighboring country, Arab-Canadian filmmaker Ruba Nadda delivers a dud with \u003cb>Cairo Time\u003c/b>, the slight, languid tale of an American woman — a UN diplomat’s wife — at loose ends in the capital. Both the passive central character and Patricia Clarkson’s performance evaporate off the screen before our eyes, leaving nothing but ephemeral snapshots of Cairo. The film aims to be evocative but is fatally underwritten; even as a travelogue, it’s barely worth the time. But the director and star are scheduled to be on hand for the fest screenings; \u003cb>Cairo Time\u003c/b> also has a date with theaters later this year.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sffs-utopia.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Utopia in Four Movements” by Sam Green\u003c/p>\n\u003cp>Ace local documentary maker Sam Green (\u003cb>The Weather Underground\u003c/b>) has been attracted for a long time to expressions of idealism. (If Obama’s Presidential campaign comes to mind, you need to think bigger, and smaller.) Esperanto, a time capsule buried in 1939, an enormous (and failed) shopping mall in an out-of-the-way Chinese city — these endeavors reflect the human yearning for connection, community, peace and immortality. Green hosts and narrates \u003cb>Utopia in Four Movements\u003c/b> in person with live musical accompaniment from sound artists Dave Cerf and the Quavers (from Brooklyn), infusing the normally passive filmgoing experience with a welcome and profoundly amusing immediacy.\u003c/p>\n\u003cp>On my way out the door to catch yet another movie, let me leave you with a few more recommendations: The dreamy, autobiographical reenacted documentary \u003cb>Port of Memory\u003c/b> from Palestine; the marvelous and mysterious Iranian parable \u003cb>The White Meadows\u003c/b>; the quirky American-artist portrait \u003cb>Marwencol\u003c/b> (U.S.) and the righteously indignant documentary \u003cb>Presumed Guilty\u003c/b> from Mexico. Pick any one, or pick another film altogether. But by all means experience the festival.\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 San Francisco International Film Festival runs April 22 through May 6, 2010, at the Castro Theatre, Clay Theare and Sundance Kabuki Cinemas in San Francisco and the Pacific Film Archive in Berkeley. For \u003ca href=\"http://fest10.sffs.org/\">tickets and information\u003c/a> visit sffs.org or call (925) 866-9559.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29110/san_francisco_international_film_festival_2010",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10029110",
"label": "arts"
},
"arts_29024": {
"type": "posts",
"id": "arts_29024",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29024",
"score": null,
"sort": [
1271374304000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271374304,
"format": "standard",
"title": "O Brother?",
"headTitle": "O Brother? | KQED",
"content": "\u003cp>What is it with teams of movie-making brothers? It’s a thing, isn’t it? Probably it started with the Warner brothers, but in recent years it has seemed to leak all over the collective consciousness. Just think of all the Coens, Quays, Shaws, Scotts, Pangs, Hugheses, Duplasses, Wachowskis, Spierigs. And of the many others I’m surely neglecting, including myself and my brother Mark, who made a short film together once when I was in college.\u003c/p>\n\u003cp>Nowadays, the whole movie-making brothers thing seems particularly concentrated in Northern California. Here, we have our Oscar-nominated Belic brothers, who made \u003cb>Genghis Blues\u003c/b>. We have the Polish Brothers, from Sacramento, most recently of \u003cb>The Astronaut Farmer\u003c/b>. We have the Butcher Brothers, who are not actually brothers, or butchers, but are in fact two fraternally good friends who make horror movies together, including, most recently, \u003cb>The Violent Kind\u003c/b>.\u003c/p>\n\u003cp>And now we have a weird confluence of sibling cinema being displayed on local screens over the course of the next few weeks.\u003c/p>\n\u003cp>First: local writer-director Peter Bratt’s La Mission, starring his brother Benjamin as an abusively macho Mission-dwelling Muni driver and low-rider enthusiast who can’t deal with his only son being gay. Then: \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=24874\">\u003cb>It Came from Kuchar\u003c/b>\u003c/a>, Jennifer Kroot’s film about the legendary Mission-dwelling underground filmmaking twins George and Mike Kuchar. Finally, local writer-director-producer-stars Logan and Noah Miller’s \u003cb>Touching Home\u003c/b>, an autobiographical story of twentysomething twins trying to keep alive both their shared dream of playing pro baseball and their homeless alcoholic father, played by Ed Harris.\u003c/p>\n\u003cp>These three should make for an illuminating triple feature. Watch them back to back and you may notice that in addition to the whole movie-making brothers thing, they seem to have some other elements in common, too. Like gumption, dad issues, tearjerking sincerity, good-looking dudes going occasionally shirtless, sensational photography of familiar Nor-Cal locations, compassion, self-empowerment, and particularly in the Millers’ case, a heartwarming making-of backstory. (Just how \u003ci>did\u003c/i> they manage to ambush Ed Harris in that alley behind the Castro Theatre and convince him to be in their very firstmovie? Well, read their \u003ca href=\"http://www.inorintheway.com/\">bestselling memoir\u003c/a> and find out.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Are the films any good? Well, let’s just say their kindred spiritualism runs deep. The Bratts’ movie feels more like a mural than a film, and the Millers clearly are a couple of rookies, just as the Kuchars are kooks. Don’t think that will stop them. Probably nothing will. At least not as long as they’ve got each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>La Mission\u003c/b> opens Friday, April 16, 2010. \u003cb>It Came from Kuchar\u003c/b> opens Friday, April 16 at the Roxie in San Francisco and the Elmwood in Berkeley. \u003cb>Touching Home\u003c/b> opens Friday, April 30.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 478,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705052193,
"excerpt": "We have a weird confluence of sibling cinema coming to local screens over the next few weeks with the release of Peter Bratt's \u003cb>La Mission\u003c/b>, starring his brother Benjamin, Jennifer Kroot's \u003cb>It Came from Kuchar\u003c/b> about filmmaking brothers George and Mike, and Logan and Noah Miller's \u003cb>Touching Home\u003c/b>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "We have a weird confluence of sibling cinema coming to local screens over the next few weeks with the release of Peter Bratt's La Mission, starring his brother Benjamin, Jennifer Kroot's It Came from Kuchar about filmmaking brothers George and Mike, and Logan and Noah Miller's Touching Home.",
"title": "O Brother? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "O Brother?",
"datePublished": "2010-04-15T16:31:44-07:00",
"dateModified": "2024-01-12T01:36:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "o_brother",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"sticky": false,
"path": "/arts/29024/o_brother",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is it with teams of movie-making brothers? It’s a thing, isn’t it? Probably it started with the Warner brothers, but in recent years it has seemed to leak all over the collective consciousness. Just think of all the Coens, Quays, Shaws, Scotts, Pangs, Hugheses, Duplasses, Wachowskis, Spierigs. And of the many others I’m surely neglecting, including myself and my brother Mark, who made a short film together once when I was in college.\u003c/p>\n\u003cp>Nowadays, the whole movie-making brothers thing seems particularly concentrated in Northern California. Here, we have our Oscar-nominated Belic brothers, who made \u003cb>Genghis Blues\u003c/b>. We have the Polish Brothers, from Sacramento, most recently of \u003cb>The Astronaut Farmer\u003c/b>. We have the Butcher Brothers, who are not actually brothers, or butchers, but are in fact two fraternally good friends who make horror movies together, including, most recently, \u003cb>The Violent Kind\u003c/b>.\u003c/p>\n\u003cp>And now we have a weird confluence of sibling cinema being displayed on local screens over the course of the next few weeks.\u003c/p>\n\u003cp>First: local writer-director Peter Bratt’s La Mission, starring his brother Benjamin as an abusively macho Mission-dwelling Muni driver and low-rider enthusiast who can’t deal with his only son being gay. Then: \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=24874\">\u003cb>It Came from Kuchar\u003c/b>\u003c/a>, Jennifer Kroot’s film about the legendary Mission-dwelling underground filmmaking twins George and Mike Kuchar. Finally, local writer-director-producer-stars Logan and Noah Miller’s \u003cb>Touching Home\u003c/b>, an autobiographical story of twentysomething twins trying to keep alive both their shared dream of playing pro baseball and their homeless alcoholic father, played by Ed Harris.\u003c/p>\n\u003cp>These three should make for an illuminating triple feature. Watch them back to back and you may notice that in addition to the whole movie-making brothers thing, they seem to have some other elements in common, too. Like gumption, dad issues, tearjerking sincerity, good-looking dudes going occasionally shirtless, sensational photography of familiar Nor-Cal locations, compassion, self-empowerment, and particularly in the Millers’ case, a heartwarming making-of backstory. (Just how \u003ci>did\u003c/i> they manage to ambush Ed Harris in that alley behind the Castro Theatre and convince him to be in their very firstmovie? Well, read their \u003ca href=\"http://www.inorintheway.com/\">bestselling memoir\u003c/a> and find out.)\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>Are the films any good? Well, let’s just say their kindred spiritualism runs deep. The Bratts’ movie feels more like a mural than a film, and the Millers clearly are a couple of rookies, just as the Kuchars are kooks. Don’t think that will stop them. Probably nothing will. At least not as long as they’ve got each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>La Mission\u003c/b> opens Friday, April 16, 2010. \u003cb>It Came from Kuchar\u003c/b> opens Friday, April 16 at the Roxie in San Francisco and the Elmwood in Berkeley. \u003cb>Touching Home\u003c/b> opens Friday, April 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29024/o_brother",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10029024",
"label": "arts"
},
"arts_28985": {
"type": "posts",
"id": "arts_28985",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28985",
"score": null,
"sort": [
1271283023000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271283023,
"format": "standard",
"title": "Crossroads",
"headTitle": "Crossroads | KQED",
"content": "\u003cp>Week in and week out, year after year for nearly five decades, the San Francisco Cinematheque has presented experimental film and video at venues all over the Bay Area. In a carefully considered — or wildly brash — strategy to raise the local profile of avant-garde work, the Cinematheque is ambitiously stepping beyond the usual one-off show to present \u003cb>Crossroads\u003c/b>, a weekend smorgasbord full of big names and gem-like treats.\u003c/p>\n\u003cp>A double-barreled salute to local animator Lawrence Jordan jump-starts tonight’s festivities. A sneak preview screening of \u003cb>Moments of Illumination\u003c/b>, Kathryn Golden and Ashley James’s loving nonfiction portrait of the venerable maestro of the collage film, serves as an inviting curtain-raiser. Then Jordan himself, who’s been making lovely, mind-expanding films since the early ’50s, premieres his latest work, \u003cb>Cosmic Alchemy!\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moments-of-ill.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Moments of Illumination” by Golden/James\u003c/p>\n\u003cp>Another certified highlight is the local debut of \u003cb>Crooked Beauty\u003c/b> (Saturday at 9pm), Ken Paul Rosenthal’s stunningly beautiful and profoundly important collaboration with writer and activist Ashley McNamara. Subtitled “navigating the space between brilliance and madness,” the “poetic documentary” (to use Rosenthal’s words) revisits and recontextualizes the mental illness diagnosis that McNamara received in college — and spent years overcoming.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crooked-beauty-1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Crooked Beauty” by Ken Paul Rosenthal\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The half-hour film is comprised entirely (except for one or two brief blurs of color) of luscious black-and-white images of the natural (or outdoor) world that subtly and obliquely play against McNamara’s first-person narration. The co-founder of the \u003ca href=\"http://theicarusproject.net/\">Icarus Project\u003c/a> recounts her journey from patient to pioneer of a campaign to challenge the stigma, diagnosis, categorization and treatment of so-called mental illness. A film about how we perceive and interact with the world, and sooner or later collide with mainstream notions of “normal,” \u003cb>Crooked Beauty\u003c/b> gives voice to a particular segment of the community, but speaks to everyone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>That raises the notion of accessibility, a consideration I often express — perhaps unnecessarily — when writing about experimental film. The fact is, to most American filmgoers, any movie that isn’t made in Hollywood in English is experimental. (A single Bollywood musical would destroy that misconception, but we’ll leave that for another day.) So avant-garde films, which eschew narrative and linearity in favor of experiential forays, can be confounding to moviegoers used to being guided through a story.\u003c/p>\n\u003cp>Now, there’s a vast middle ground between the familiar (and often formulaic) and the abstract and difficult to interpret. \u003cb>Sleep Furiously\u003c/b> (Sunday at 8pm), Gideon Koppel’s seductive study of a Welsh town and its environs, doesn’t follow a central character, invent an artificial timeline or otherwise seek out or manufacture drama — the standard approaches of documentary filmmakers. He patiently insinuates us into the community, hanging out with the bookmobile and the farmer, the sheepshearers and the dog-lovers. Once you get on Koppel’s rhythm, the film is just as accessible — and much more rewarding — than the usual hit-and-run approach. What’s gained through his accretion of detail and depth of texture, and sooner than you might expect, is that we stop feeling like visitors and more like residents.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sleep-furiously.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Sleep Furiously” by Gideon Koppel\u003c/p>\n\u003cp>There’s a whole lot more on offer, from an appearance by the legendary Barbara Hammer (Saturday at 1pm) to a performance by Stephanie Barber (Saturday at 7pm). Be brash.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Crossroads runs April 16-18, 2010, at the Victoria Theatre, 2961 16th St. (near Mission), San Francisco. For \u003ca href=\"http://www.sfcinematheque.org/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 623,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052197,
"excerpt": "S.F. Cinematheque's debut weekend showcase of film-as-poetry brims with beauty.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "S.F. Cinematheque's debut weekend showcase of film-as-poetry brims with beauty.",
"title": "Crossroads | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Crossroads",
"datePublished": "2010-04-14T15:10:23-07:00",
"dateModified": "2024-01-12T01:36:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "crossroads",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"path": "/arts/28985/crossroads",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Week in and week out, year after year for nearly five decades, the San Francisco Cinematheque has presented experimental film and video at venues all over the Bay Area. In a carefully considered — or wildly brash — strategy to raise the local profile of avant-garde work, the Cinematheque is ambitiously stepping beyond the usual one-off show to present \u003cb>Crossroads\u003c/b>, a weekend smorgasbord full of big names and gem-like treats.\u003c/p>\n\u003cp>A double-barreled salute to local animator Lawrence Jordan jump-starts tonight’s festivities. A sneak preview screening of \u003cb>Moments of Illumination\u003c/b>, Kathryn Golden and Ashley James’s loving nonfiction portrait of the venerable maestro of the collage film, serves as an inviting curtain-raiser. Then Jordan himself, who’s been making lovely, mind-expanding films since the early ’50s, premieres his latest work, \u003cb>Cosmic Alchemy!\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moments-of-ill.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Moments of Illumination” by Golden/James\u003c/p>\n\u003cp>Another certified highlight is the local debut of \u003cb>Crooked Beauty\u003c/b> (Saturday at 9pm), Ken Paul Rosenthal’s stunningly beautiful and profoundly important collaboration with writer and activist Ashley McNamara. Subtitled “navigating the space between brilliance and madness,” the “poetic documentary” (to use Rosenthal’s words) revisits and recontextualizes the mental illness diagnosis that McNamara received in college — and spent years overcoming.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crooked-beauty-1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Crooked Beauty” by Ken Paul Rosenthal\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The half-hour film is comprised entirely (except for one or two brief blurs of color) of luscious black-and-white images of the natural (or outdoor) world that subtly and obliquely play against McNamara’s first-person narration. The co-founder of the \u003ca href=\"http://theicarusproject.net/\">Icarus Project\u003c/a> recounts her journey from patient to pioneer of a campaign to challenge the stigma, diagnosis, categorization and treatment of so-called mental illness. A film about how we perceive and interact with the world, and sooner or later collide with mainstream notions of “normal,” \u003cb>Crooked Beauty\u003c/b> gives voice to a particular segment of the community, but speaks to everyone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>That raises the notion of accessibility, a consideration I often express — perhaps unnecessarily — when writing about experimental film. The fact is, to most American filmgoers, any movie that isn’t made in Hollywood in English is experimental. (A single Bollywood musical would destroy that misconception, but we’ll leave that for another day.) So avant-garde films, which eschew narrative and linearity in favor of experiential forays, can be confounding to moviegoers used to being guided through a story.\u003c/p>\n\u003cp>Now, there’s a vast middle ground between the familiar (and often formulaic) and the abstract and difficult to interpret. \u003cb>Sleep Furiously\u003c/b> (Sunday at 8pm), Gideon Koppel’s seductive study of a Welsh town and its environs, doesn’t follow a central character, invent an artificial timeline or otherwise seek out or manufacture drama — the standard approaches of documentary filmmakers. He patiently insinuates us into the community, hanging out with the bookmobile and the farmer, the sheepshearers and the dog-lovers. Once you get on Koppel’s rhythm, the film is just as accessible — and much more rewarding — than the usual hit-and-run approach. What’s gained through his accretion of detail and depth of texture, and sooner than you might expect, is that we stop feeling like visitors and more like residents.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sleep-furiously.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Sleep Furiously” by Gideon Koppel\u003c/p>\n\u003cp>There’s a whole lot more on offer, from an appearance by the legendary Barbara Hammer (Saturday at 1pm) to a performance by Stephanie Barber (Saturday at 7pm). Be brash.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Crossroads runs April 16-18, 2010, at the Victoria Theatre, 2961 16th St. (near Mission), San Francisco. For \u003ca href=\"http://www.sfcinematheque.org/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28985/crossroads",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028985",
"label": "arts"
},
"arts_28953": {
"type": "posts",
"id": "arts_28953",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28953",
"score": null,
"sort": [
1271210337000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271210337,
"format": "standard",
"title": "Exit Through the Miffed Shop",
"headTitle": "Exit Through the Miffed Shop | KQED",
"content": "\u003cp>Fools like me who avoided the hype about secretive street artist \u003ca href=\"http://en.wikipedia.org/wiki/Banksy\">Banksy\u003c/a>‘s directorial debut, \u003cb>Exit Through the Gift Shop\u003c/b>, in an effort to guarantee an unspoiled viewing experience should be prepared for the old “bait and switch.” While I knew the film was billed as a documentary about Banksy that ended up focusing more on the filmmaker than the subject, I still believed I’d get some insight into the life of the international artist of mystery, or at least a clue about his real name. (This is the part where I tell you to stop reading if you don’t like spoilers). Instead, the film focused more on a battery of other artists, providing a partial history of the most dangerous, controversial, and illegal genre of art.\u003c/p>\n\u003cp>Top-selling artists Shepard Fairey and Mr. Brainwash are two main characters, and Banksy’s masked, voice-modulated interviews serve as eye-witness accounts of recent events that turned the art world inside out. Frankly, I was miffed. I’ve seen plenty of Shepard Fairey interviews, and when the film spent much of its first half hour featuring Fairey photocopying his art at Kinko’s, and lurking under billboards wheat-pasting his pervasive Obey posters, I felt a hoax coming on. Enter Mr. Brainwash.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/banksy-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Thierry Guetta, a.k.a. Mr. Brainwash, became obsessed with street art after being introduced to it by his cousin, the artist known as Invader. Through Invader, Guetta met Fairey, then more artists, and began following them around with his video camera. In the past, street art was not often documented because capturing it in action requires death-defying climbs and a high risk of police chases (not easily navigable when you’re carrying a camera and lights). But Guetta was fearless and even became skilled as Fairey’s lookout. His fascination grew, and he filled dozens of boxes with tapes equivalent to contemporary art documentary gold — world-famous, underground street artists caught on camera. The artists expected him to make a film, but he needed one more subject to complete the roster — his seemingly unreachable goal to shadow the infamously elusive Banksy became a reality when the artist visited L.A. and needed a hand with some outdoor projects — Fairey hooked them up, and that’s when all hell broke loose.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/banksy-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Banksy created a monster. After developing a friendship with Guetta and allowing himself to be filmed for several years, Banksy realized Guetta wasn’t capable of making a comprehensible film with his priceless footage. So Banksy asked him to turn over the tapes and focus on having an art show of his own instead — Guetta had gotten the bug and dabbled in some self-portrait street art. He took Banksy’s encouragement and ran with it, hiring a crew and setting out to make a huge, Banksy-style exhibition. He chose Mr. Brainwash as his pseudonym because his documentation of street artists caused him to believe that art is all about brainwashing the public. In a sense, he was right. In every sense, brainwashing is exactly what he did. Taking appropriation to an unsettling level, his show was \u003ca href=\"http://blogs.laweekly.com/lurker/gallery/mr-brainwash-bombs-la/\">a hot mess of contemporary influences\u003c/a>, but his strategic marketing convinced patrons that his very first pieces of art should sell for tens of thousands of dollars. He sold a million dollars “worth” of art at his first show, \u003cb>Life is Beautiful\u003c/b> in 2008, which Banksy helped promote with the following quote: “Mr. Brainwash is a force of nature, he’s a phenomenon. And I don’t mean that in a good way.” \u003cb>Exit Through the Gift Shop\u003c/b> uncovers the story behind those sharp words.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/banksy-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some viewers have speculated that Banksy and Brainwash are the same person. Guetta even hints at that possibility in a recent \u003ca href=\"http://online.wsj.com/article/SB10001424052748704140104575057350802155846.html\">Wall Street Journal\u003c/a> article. Whether or not the film is another deceptive stunt by Banksy doesn’t really matter. For me, it ended up being an entertaining, valiant investigation of a counterculture movement that has infiltrated snooty auction houses and galleries worldwide. I began to wonder why I even cared about Banksy’s identity in the first place. And then I realized he’s a celebrity just like any other, and I might like him better if I discovered some juicy gossip about him. Maybe if he had kids with names like Apple and Sparrow and a rock star wife, I might find him even more (or less) interesting (I did notice a wedding band on his finger in one shot). But that’s not the point of his film. The point is to see how easily we can be fooled by hype, and to recognize street art’s widespread influence. As far as what Mr. Brainwash’s overnight success based on a load of crappy art means to the art world, Banksy himself said it best in a deep, gravelly, robot voice, “Maybe it means art is a bit of a joke.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 855,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052201,
"excerpt": "I knew the film was billed as a documentary about Banksy that ended up focusing more on the filmmaker than the subject, but I still believed I'd get some insight into the life of the international artist of mystery, or at least a clue about his real name.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "I knew the film was billed as a documentary about Banksy that ended up focusing more on the filmmaker than the subject, but I still believed I'd get some insight into the life of the international artist of mystery, or at least a clue about his real name.",
"title": "Exit Through the Miffed Shop | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Exit Through the Miffed Shop",
"datePublished": "2010-04-13T18:58:57-07:00",
"dateModified": "2024-01-12T01:36:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "exit_through_the_miffed_shop",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/28953/exit_through_the_miffed_shop",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fools like me who avoided the hype about secretive street artist \u003ca href=\"http://en.wikipedia.org/wiki/Banksy\">Banksy\u003c/a>‘s directorial debut, \u003cb>Exit Through the Gift Shop\u003c/b>, in an effort to guarantee an unspoiled viewing experience should be prepared for the old “bait and switch.” While I knew the film was billed as a documentary about Banksy that ended up focusing more on the filmmaker than the subject, I still believed I’d get some insight into the life of the international artist of mystery, or at least a clue about his real name. (This is the part where I tell you to stop reading if you don’t like spoilers). Instead, the film focused more on a battery of other artists, providing a partial history of the most dangerous, controversial, and illegal genre of art.\u003c/p>\n\u003cp>Top-selling artists Shepard Fairey and Mr. Brainwash are two main characters, and Banksy’s masked, voice-modulated interviews serve as eye-witness accounts of recent events that turned the art world inside out. Frankly, I was miffed. I’ve seen plenty of Shepard Fairey interviews, and when the film spent much of its first half hour featuring Fairey photocopying his art at Kinko’s, and lurking under billboards wheat-pasting his pervasive Obey posters, I felt a hoax coming on. Enter Mr. Brainwash.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/banksy-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Thierry Guetta, a.k.a. Mr. Brainwash, became obsessed with street art after being introduced to it by his cousin, the artist known as Invader. Through Invader, Guetta met Fairey, then more artists, and began following them around with his video camera. In the past, street art was not often documented because capturing it in action requires death-defying climbs and a high risk of police chases (not easily navigable when you’re carrying a camera and lights). But Guetta was fearless and even became skilled as Fairey’s lookout. His fascination grew, and he filled dozens of boxes with tapes equivalent to contemporary art documentary gold — world-famous, underground street artists caught on camera. The artists expected him to make a film, but he needed one more subject to complete the roster — his seemingly unreachable goal to shadow the infamously elusive Banksy became a reality when the artist visited L.A. and needed a hand with some outdoor projects — Fairey hooked them up, and that’s when all hell broke loose.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/banksy-1.jpg\" style=\"margin-bottom: 10px\">\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>Banksy created a monster. After developing a friendship with Guetta and allowing himself to be filmed for several years, Banksy realized Guetta wasn’t capable of making a comprehensible film with his priceless footage. So Banksy asked him to turn over the tapes and focus on having an art show of his own instead — Guetta had gotten the bug and dabbled in some self-portrait street art. He took Banksy’s encouragement and ran with it, hiring a crew and setting out to make a huge, Banksy-style exhibition. He chose Mr. Brainwash as his pseudonym because his documentation of street artists caused him to believe that art is all about brainwashing the public. In a sense, he was right. In every sense, brainwashing is exactly what he did. Taking appropriation to an unsettling level, his show was \u003ca href=\"http://blogs.laweekly.com/lurker/gallery/mr-brainwash-bombs-la/\">a hot mess of contemporary influences\u003c/a>, but his strategic marketing convinced patrons that his very first pieces of art should sell for tens of thousands of dollars. He sold a million dollars “worth” of art at his first show, \u003cb>Life is Beautiful\u003c/b> in 2008, which Banksy helped promote with the following quote: “Mr. Brainwash is a force of nature, he’s a phenomenon. And I don’t mean that in a good way.” \u003cb>Exit Through the Gift Shop\u003c/b> uncovers the story behind those sharp words.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/banksy-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some viewers have speculated that Banksy and Brainwash are the same person. Guetta even hints at that possibility in a recent \u003ca href=\"http://online.wsj.com/article/SB10001424052748704140104575057350802155846.html\">Wall Street Journal\u003c/a> article. Whether or not the film is another deceptive stunt by Banksy doesn’t really matter. For me, it ended up being an entertaining, valiant investigation of a counterculture movement that has infiltrated snooty auction houses and galleries worldwide. I began to wonder why I even cared about Banksy’s identity in the first place. And then I realized he’s a celebrity just like any other, and I might like him better if I discovered some juicy gossip about him. Maybe if he had kids with names like Apple and Sparrow and a rock star wife, I might find him even more (or less) interesting (I did notice a wedding band on his finger in one shot). But that’s not the point of his film. The point is to see how easily we can be fooled by hype, and to recognize street art’s widespread influence. As far as what Mr. Brainwash’s overnight success based on a load of crappy art means to the art world, Banksy himself said it best in a deep, gravelly, robot voice, “Maybe it means art is a bit of a joke.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28953/exit_through_the_miffed_shop",
"authors": [
"16"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028953",
"label": "arts"
}
},
"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": 2904,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_29962",
"arts_29852",
"arts_29802",
"arts_29515",
"arts_29413",
"arts_29408",
"arts_29147",
"arts_29118",
"arts_29110",
"arts_29024",
"arts_28985",
"arts_28953"
],
"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_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_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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_345": {
"type": "terms",
"id": "arts_345",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "345",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truly CA Shorts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truly CA Shorts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 346,
"slug": "trulycashorts",
"isLoading": false,
"link": "/arts/tag/trulycashorts"
},
"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"
}
},
"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
}
}
