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_10023633": {
"type": "attachments",
"id": "arts_10023633",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023633",
"found": true
},
"parent": 23633,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/baby-peggy-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/baby-peggy-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/baby-peggy-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/baby-peggy-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/baby-peggy-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/baby-peggy-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1226084839,
"modified": 1226084839,
"caption": null,
"description": null,
"title": "Baby Peggy 90th Birthday Bash-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023621": {
"type": "attachments",
"id": "arts_10023621",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023621",
"found": true
},
"parent": 23621,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/one-strong-arm-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/one-strong-arm-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/one-strong-arm-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/one-strong-arm-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/one-strong-arm-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/one-strong-arm-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1225480040,
"modified": 1225480040,
"caption": null,
"description": null,
"title": "One Strong Arm-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023620": {
"type": "attachments",
"id": "arts_10023620",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023620",
"found": true
},
"parent": 23620,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/fears-of-dark-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/fears-of-dark-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/fears-of-dark-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/fears-of-dark-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/fears-of-dark-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/fears-of-dark-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1225403681,
"modified": 1225403681,
"caption": null,
"description": null,
"title": "Fear(s) of the Dark-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023586": {
"type": "attachments",
"id": "arts_10023586",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023586",
"found": true
},
"parent": 23586,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/changeling-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/changeling-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/changeling-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/changeling-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/changeling-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/changeling-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1224795995,
"modified": 1224795995,
"caption": null,
"description": null,
"title": "Changeling-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023538": {
"type": "attachments",
"id": "arts_10023538",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023538",
"found": true
},
"parent": 23538,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/arab-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/arab-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/arab-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/arab-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/arab-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/arab-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1224100490,
"modified": 1224100490,
"caption": null,
"description": null,
"title": "Arab Film Festival-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023499": {
"type": "attachments",
"id": "arts_10023499",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023499",
"found": true
},
"parent": 23499,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/superstars-248x1406.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/superstars-248x1406-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1223508447,
"modified": 1223508447,
"caption": null,
"description": null,
"title": "The Superstars Next Door-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023496": {
"type": "attachments",
"id": "arts_10023496",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023496",
"found": true
},
"parent": 23496,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/frenchcinema-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/frenchcinema-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/frenchcinema-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/frenchcinema-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/frenchcinema-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/frenchcinema-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1223329876,
"modified": 1223329876,
"caption": null,
"description": null,
"title": "French Cinema Now-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023435": {
"type": "attachments",
"id": "arts_10023435",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023435",
"found": true
},
"parent": 23435,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/wayne-wang-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/wayne-wang-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1222375710,
"modified": 1222375710,
"caption": null,
"description": null,
"title": "Wayne Wang: A Thousand Years of Good Prayers-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023421": {
"type": "attachments",
"id": "arts_10023421",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023421",
"found": true
},
"parent": 23421,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/cine-manifest-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/cine-manifest-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/cine-manifest-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/cine-manifest-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/cine-manifest-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/cine-manifest-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1222129231,
"modified": 1222129231,
"caption": null,
"description": null,
"title": "Cine Manifest-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023418": {
"type": "attachments",
"id": "arts_10023418",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023418",
"found": true
},
"parent": 23418,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/shelf-life-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/shelf-life-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/shelf-life-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/shelf-life-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/shelf-life-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/shelf-life-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1222125735,
"modified": 1222125735,
"caption": null,
"description": null,
"title": "Shelf Life-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023388": {
"type": "attachments",
"id": "arts_10023388",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023388",
"found": true
},
"parent": 23388,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/battle-seattle-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/battle-seattle-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/battle-seattle-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/battle-seattle-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/battle-seattle-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/battle-seattle-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1221779912,
"modified": 1221779912,
"caption": null,
"description": null,
"title": "Battle in Seattle-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023384": {
"type": "attachments",
"id": "arts_10023384",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023384",
"found": true
},
"parent": 23384,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/forbidden-lies-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/forbidden-lies-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/forbidden-lies-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/forbidden-lies-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/forbidden-lies-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/forbidden-lies-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1221696496,
"modified": 1221696496,
"caption": null,
"description": null,
"title": "Forbidden Lie$-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_23435": {
"type": "authors",
"id": "byline_arts_23435",
"meta": {
"override": true
},
"slug": "byline_arts_23435",
"name": "Emily Wilson",
"isLoading": false
},
"byline_arts_23388": {
"type": "authors",
"id": "byline_arts_23388",
"meta": {
"override": true
},
"slug": "byline_arts_23388",
"name": "Jeffrey Gilliland",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"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"
},
"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": 12.557161
},
"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": 254
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 254
}
},
{
"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_23633": {
"type": "posts",
"id": "arts_23633",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23633",
"score": null,
"sort": [
1226084839000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1226084839,
"format": "standard",
"title": "Baby Peggy 90th Birthday Bash",
"headTitle": "Baby Peggy 90th Birthday Bash | KQED",
"content": "\u003cp>Diana Serra Cary probably can’t help with your complicated feelings about Lindsay Lohan and Dakota Fanning. But Cary, born Peggy-Jean Montgomery in 1918, certainly can offer some perspective on the peculiar, glamorous, exploitative, glorious, horrifying phenomenon of child stardom (not to mention the related topic of wackjob showbiz parentdom). She was one of its inventors.\u003c/p>\n\u003cp>If you think \u003ci>today’s\u003c/i> movies are infantilizing, get a load of Baby Peggy. Get a load of her this weekend, actually, in person, at the Niles Essanay Silent Film Museum’s \u003cb>Baby Peggy 90th Birthday Bash\u003c/b>, a two-day extravaganza with features, shorts, a documentary, an interactive panel discussion and a book signing.\u003c/p>\n\u003cp>One obvious benefit of Cary’s nine decades’ worth of hindsight is that her movie-industry reflections have been finely honed. “It was hard work,” she told London’s \u003ci>Independent\u003c/i> in 2006. “I did my own stunts. They thought children were made of rubber then.”\u003c/p>\n\u003cp>In Baby Peggy’s many films, the cherubic, almond-eyed tot often proved savvier about matters of adulthood than the grownups surrounding her. A talented mimic, she also specialized in eerily accurate miniature parody versions of older stars like Mary Pickford and Pola Negri. And she inspired a line of dolls in her own image.\u003c/p>\n\u003cp>Baby Peggy got started by accident when her mother brought the 19-month-old to watch a movie being made at Century Studios, told her to sit quietly on a stool in the corner, and was commended for having such a well-behaved child by the director — who happened to need a tyke to star in his next project, opposite Brownie the Wonder Dog. When that movie, \u003cb>Playmates\u003c/b>, scored big, Peggy scored a contract. Her cowboy-stuntman-actor father took it from there, and the rest is — well, a forgotten cautionary tale of ’20s Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Let’s see if we have this straight. In 1921, at three years of age, Baby Peggy was already her family’s provider, making ten grand a week. In 1923, she got nearly 2 million fan letters (and had a staff of five women handling her mail). By 1934, her parents had squandered her fortune and she was broke, scraping by as an extra and being asked by the clerk of a photographer who took her headshots, “How does it feel to be a has-been at 16?” Two years after that, her 1924 silent film \u003cb>Captain January\u003c/b> was remade, with sound and Shirley Temple as the star.\u003c/p>\n\u003cp>\u003c/p>\u003cp>It just goes to show that not only have we always been strangely infatuated with child stars; we have also always been deeply irritated by them.\u003c/p>\n\u003cp>After the apparently obligatory career ruination, identity crisis, divorce and nervous breakdown that seemed like a hell of a price to pay for a brief stint of celebrity, Cary became a journalist and historian. Her well-regarded books — see if you can detect a theme here — include \u003cb>Hollywood’s Children: An Inside Account of the Child Star Era\u003c/b>, \u003cb>Jackie Coogan, The World’s Boy King: A Biography of Hollywood’s Legendary Child Star\u003c/b>, and of course \u003cb>What Ever Happened to Baby Peggy: The Autobiography of Hollywood’s Pioneer Child Star\u003c/b>.\u003c/p>\n\u003cp>Baby Peggy’s legacy is almost incalculable. It includes, for instance, the very mixed blessing of being the star who gave Judy Garland’s mother the idea to get her daughter into show business.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Baby Peggy 90th Birthday Bash\u003c/b> takes place November 8-9, 2008, at the Niles Edison Theater, 37417 Niles Boulevard, Fremont, CA. For \u003ca href=\"http://www.nilesfilmmuseum.org\" target=\"offsite\" rel=\"noopener\">schedule, tickets and other information\u003c/a> visit www.nilesfilmmuseum.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 624,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052929,
"excerpt": "Diana Serra Cary probably can't help with your complicated feelings about Lindsay Lohan and Dakota Fanning. But Cary, born Peggy-Jean Montgomery in 1918, certainly can offer some perspective on the peculiar, glamorous, exploitative, glorious, horrifying phenomenon of child stardom. She was one of its inventors.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Diana Serra Cary probably can't help with your complicated feelings about Lindsay Lohan and Dakota Fanning. But Cary, born Peggy-Jean Montgomery in 1918, certainly can offer some perspective on the peculiar, glamorous, exploitative, glorious, horrifying phenomenon of child stardom. She was one of its inventors.",
"title": "Baby Peggy 90th Birthday Bash | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Baby Peggy 90th Birthday Bash",
"datePublished": "2008-11-07T11:07:19-08:00",
"dateModified": "2024-01-12T01:48:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "baby_peggy_90th_birthday_bash",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/23633/baby_peggy_90th_birthday_bash",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diana Serra Cary probably can’t help with your complicated feelings about Lindsay Lohan and Dakota Fanning. But Cary, born Peggy-Jean Montgomery in 1918, certainly can offer some perspective on the peculiar, glamorous, exploitative, glorious, horrifying phenomenon of child stardom (not to mention the related topic of wackjob showbiz parentdom). She was one of its inventors.\u003c/p>\n\u003cp>If you think \u003ci>today’s\u003c/i> movies are infantilizing, get a load of Baby Peggy. Get a load of her this weekend, actually, in person, at the Niles Essanay Silent Film Museum’s \u003cb>Baby Peggy 90th Birthday Bash\u003c/b>, a two-day extravaganza with features, shorts, a documentary, an interactive panel discussion and a book signing.\u003c/p>\n\u003cp>One obvious benefit of Cary’s nine decades’ worth of hindsight is that her movie-industry reflections have been finely honed. “It was hard work,” she told London’s \u003ci>Independent\u003c/i> in 2006. “I did my own stunts. They thought children were made of rubber then.”\u003c/p>\n\u003cp>In Baby Peggy’s many films, the cherubic, almond-eyed tot often proved savvier about matters of adulthood than the grownups surrounding her. A talented mimic, she also specialized in eerily accurate miniature parody versions of older stars like Mary Pickford and Pola Negri. And she inspired a line of dolls in her own image.\u003c/p>\n\u003cp>Baby Peggy got started by accident when her mother brought the 19-month-old to watch a movie being made at Century Studios, told her to sit quietly on a stool in the corner, and was commended for having such a well-behaved child by the director — who happened to need a tyke to star in his next project, opposite Brownie the Wonder Dog. When that movie, \u003cb>Playmates\u003c/b>, scored big, Peggy scored a contract. Her cowboy-stuntman-actor father took it from there, and the rest is — well, a forgotten cautionary tale of ’20s Hollywood.\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>Let’s see if we have this straight. In 1921, at three years of age, Baby Peggy was already her family’s provider, making ten grand a week. In 1923, she got nearly 2 million fan letters (and had a staff of five women handling her mail). By 1934, her parents had squandered her fortune and she was broke, scraping by as an extra and being asked by the clerk of a photographer who took her headshots, “How does it feel to be a has-been at 16?” Two years after that, her 1924 silent film \u003cb>Captain January\u003c/b> was remade, with sound and Shirley Temple as the star.\u003c/p>\n\u003cp>\u003c/p>\u003cp>It just goes to show that not only have we always been strangely infatuated with child stars; we have also always been deeply irritated by them.\u003c/p>\n\u003cp>After the apparently obligatory career ruination, identity crisis, divorce and nervous breakdown that seemed like a hell of a price to pay for a brief stint of celebrity, Cary became a journalist and historian. Her well-regarded books — see if you can detect a theme here — include \u003cb>Hollywood’s Children: An Inside Account of the Child Star Era\u003c/b>, \u003cb>Jackie Coogan, The World’s Boy King: A Biography of Hollywood’s Legendary Child Star\u003c/b>, and of course \u003cb>What Ever Happened to Baby Peggy: The Autobiography of Hollywood’s Pioneer Child Star\u003c/b>.\u003c/p>\n\u003cp>Baby Peggy’s legacy is almost incalculable. It includes, for instance, the very mixed blessing of being the star who gave Judy Garland’s mother the idea to get her daughter into show business.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Baby Peggy 90th Birthday Bash\u003c/b> takes place November 8-9, 2008, at the Niles Edison Theater, 37417 Niles Boulevard, Fremont, CA. For \u003ca href=\"http://www.nilesfilmmuseum.org\" target=\"offsite\" rel=\"noopener\">schedule, tickets and other information\u003c/a> visit www.nilesfilmmuseum.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23633/baby_peggy_90th_birthday_bash",
"authors": [
"128"
],
"categories": [
"arts_74"
],
"tags": [
"arts_991",
"arts_596"
],
"featImg": "arts_10023633",
"label": "arts"
},
"arts_23621": {
"type": "posts",
"id": "arts_23621",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23621",
"score": null,
"sort": [
1225480040000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1225480040,
"format": "standard",
"title": "One Strong Arm",
"headTitle": "One Strong Arm | KQED",
"content": "\u003cp>\u003cstrong>One Strong Arm\u003c/strong> is an inspiring and funny portrait of an extraordinary young man. When he was eighteen months old, Cody Wagner was diagnosed with a brain tumor. During surgery to remove it, he suffered a series of strokes that paralyzed one side of his brain and body. At the time, the doctors predicted he would never recover. They were wrong. Sixteen years later, with the support of his friends and family, Wagner finds the one sport that will make him whole again … arm wrestling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 88,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1705052932,
"excerpt": "View Loren Mendell and Tiller Russell's short film, \u003cstrong>One Strong Arm\u003c/strong>, a portrait of an arm wrestler who is half-paralyzed.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "View Loren Mendell and Tiller Russell's short film, One Strong Arm, a portrait of an arm wrestler who is half-paralyzed.",
"title": "One Strong Arm | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "One Strong Arm",
"datePublished": "2008-10-31T12:07:20-07:00",
"dateModified": "2024-01-12T01:48:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "one_strong_arm",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/trulycashorts/",
"sticky": false,
"path": "/arts/23621/one_strong_arm",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>One Strong Arm\u003c/strong> is an inspiring and funny portrait of an extraordinary young man. When he was eighteen months old, Cody Wagner was diagnosed with a brain tumor. During surgery to remove it, he suffered a series of strokes that paralyzed one side of his brain and body. At the time, the doctors predicted he would never recover. They were wrong. Sixteen years later, with the support of his friends and family, Wagner finds the one sport that will make him whole again … arm wrestling.\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/23621/one_strong_arm",
"authors": [
"92"
],
"categories": [
"arts_74"
],
"tags": [
"arts_345"
],
"featImg": "arts_10023621",
"label": "arts"
},
"arts_23620": {
"type": "posts",
"id": "arts_23620",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23620",
"score": null,
"sort": [
1225403681000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1225403681,
"format": "standard",
"title": "Fear(s) of the Dark",
"headTitle": "Fear(s) of the Dark | KQED",
"content": "\u003cp>One thing to be afraid, be very afraid of going in to \u003cb>Fear(s) of the Dark\u003c/b>, a French animation anthology opening here just in time for Halloween, is that the range of its quality will be drastic.\u003c/p>\n\u003cp>True, like the proverbial bag of candy gathered from trick-or-treating, this one is necessarily mixed — and, to make matters scarier, it comes without any hope of rationing favorites and trading letdowns away. But that’s also the fun of it, the chancy thrill we hope to get from confining ourselves to a movie theater and sitting there for a while in the dark.\u003c/p>\n\u003cp>OK, forget the candy-bag simile; here’s another. Like a good nightmare, which is to say a bad nightmare, the (mostly) black-and-white animation on offer from these six eminent graphic artists seems at once brusquely literal and obliquely expressionistic. It tends not to explain or justify itself; all you know is that you’re there in the middle of it.\u003c/p>\n\u003cp>The crafty showpiece from Charles Burns combines Kafka, ’50s B-movie sci-fi paranoia and graphic-novel chic in conventional but compelling ways. A lonely nerd finally gets a girlfriend but finds her quite horrifically domineering, in a way that involves malevolent subcutaneous insects. Subcutaneous insects are bad enough as it is; them having evil agendas is really more than any meek young man can handle. This is a smartly designed and richly textured work. Maybe its best quality is that its style and substance seem so unified.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also goes for the evocative charcoals of Lorenzo Mattotti and Jerry Kramsky’s campfire-worthy folk-tale, about an unseen creature terrorizing a rural Italian town; and for a collection of interstitials by Blutch (Christian Hinker). Together, Blutch’s contributions form a political allegory that is as deliberately blunt as its hastily-penciled technique. A spiteful, 18th-century French nobleman struts through a village remorselessly unleashing his attack dogs on hapless innocents. Guess what becomes of him?\u003c/p>\n\u003cp>Marie Caillou and Romain Slocombe’s installment, about a Japanese girl tormented not just by her classmates, but also by a hostile undead decapitated Samurai warrior and a wicked needle-wielding doctor who insists that she power through her elaborate nightmares, peels back the inherent creepiness of its cutesy, anime-influenced faux-naïve aesthetic to reveal all sorts of twisted goings on underneath.\u003c/p>\n\u003cp>That seems consistent with the greater goal of \u003cb>Fear(s) of the Dark\u003c/b>, which typically forgoes the banal horror-film shock tactics more common this side of the Atlantic, in order to try and get at something more subtle and sophisticated, something more conspicuously grown-up.\u003c/p>\n\u003cp>Of course, it’s not lost on these artists that the most unnerving adult fears evolve from childhood issues left unresolved. Take the monologue of existential insecurities — “I’m scared of having a hard time proving the superiority of western civilization to an Afghan villager watching TV with me,” or, “I’m scared of being irredeemably bourgeois” — recited over Pierre di Sciullo’s jig of geometric patterns, for one lightly self-parodying example.\u003c/p>\n\u003cp>Or Richard McGuire’s remarkably old-fashioned and dazzlingly stylish contribution, the best of the lot, in which a man takes refuge from a blizzard in a pitch-dark haunted house. Nearly all of we see is only what he can manage to reveal by the light of a match — and sometimes that’s more than we wanted to see. It’s exactly what the movies always seem to have understood: Sometimes it’s less frightening to just stay in the dark.\u003c/p>\n\u003cp>\u003cb>Fear(s) of the Dark\u003c/b> opens October 31, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck Cinema in Berkeley.For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a> visit www.landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> . \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 653,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052934,
"excerpt": "Like a good nightmare, which is to say a bad nightmare, the (mostly) black-and-white animation on offer from these six eminent graphic artists seems at once brusquely literal and obliquely expressionistic.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Like a good nightmare, which is to say a bad nightmare, the (mostly) black-and-white animation on offer from these six eminent graphic artists seems at once brusquely literal and obliquely expressionistic.",
"title": "Fear(s) of the Dark | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fear(s) of the Dark",
"datePublished": "2008-10-30T14:54:41-07:00",
"dateModified": "2024-01-12T01:48:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fears_of_the_dark",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23620/fears_of_the_dark",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One thing to be afraid, be very afraid of going in to \u003cb>Fear(s) of the Dark\u003c/b>, a French animation anthology opening here just in time for Halloween, is that the range of its quality will be drastic.\u003c/p>\n\u003cp>True, like the proverbial bag of candy gathered from trick-or-treating, this one is necessarily mixed — and, to make matters scarier, it comes without any hope of rationing favorites and trading letdowns away. But that’s also the fun of it, the chancy thrill we hope to get from confining ourselves to a movie theater and sitting there for a while in the dark.\u003c/p>\n\u003cp>OK, forget the candy-bag simile; here’s another. Like a good nightmare, which is to say a bad nightmare, the (mostly) black-and-white animation on offer from these six eminent graphic artists seems at once brusquely literal and obliquely expressionistic. It tends not to explain or justify itself; all you know is that you’re there in the middle of it.\u003c/p>\n\u003cp>The crafty showpiece from Charles Burns combines Kafka, ’50s B-movie sci-fi paranoia and graphic-novel chic in conventional but compelling ways. A lonely nerd finally gets a girlfriend but finds her quite horrifically domineering, in a way that involves malevolent subcutaneous insects. Subcutaneous insects are bad enough as it is; them having evil agendas is really more than any meek young man can handle. This is a smartly designed and richly textured work. Maybe its best quality is that its style and substance seem so unified.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That also goes for the evocative charcoals of Lorenzo Mattotti and Jerry Kramsky’s campfire-worthy folk-tale, about an unseen creature terrorizing a rural Italian town; and for a collection of interstitials by Blutch (Christian Hinker). Together, Blutch’s contributions form a political allegory that is as deliberately blunt as its hastily-penciled technique. A spiteful, 18th-century French nobleman struts through a village remorselessly unleashing his attack dogs on hapless innocents. Guess what becomes of him?\u003c/p>\n\u003cp>Marie Caillou and Romain Slocombe’s installment, about a Japanese girl tormented not just by her classmates, but also by a hostile undead decapitated Samurai warrior and a wicked needle-wielding doctor who insists that she power through her elaborate nightmares, peels back the inherent creepiness of its cutesy, anime-influenced faux-naïve aesthetic to reveal all sorts of twisted goings on underneath.\u003c/p>\n\u003cp>That seems consistent with the greater goal of \u003cb>Fear(s) of the Dark\u003c/b>, which typically forgoes the banal horror-film shock tactics more common this side of the Atlantic, in order to try and get at something more subtle and sophisticated, something more conspicuously grown-up.\u003c/p>\n\u003cp>Of course, it’s not lost on these artists that the most unnerving adult fears evolve from childhood issues left unresolved. Take the monologue of existential insecurities — “I’m scared of having a hard time proving the superiority of western civilization to an Afghan villager watching TV with me,” or, “I’m scared of being irredeemably bourgeois” — recited over Pierre di Sciullo’s jig of geometric patterns, for one lightly self-parodying example.\u003c/p>\n\u003cp>Or Richard McGuire’s remarkably old-fashioned and dazzlingly stylish contribution, the best of the lot, in which a man takes refuge from a blizzard in a pitch-dark haunted house. Nearly all of we see is only what he can manage to reveal by the light of a match — and sometimes that’s more than we wanted to see. It’s exactly what the movies always seem to have understood: Sometimes it’s less frightening to just stay in the dark.\u003c/p>\n\u003cp>\u003cb>Fear(s) of the Dark\u003c/b> opens October 31, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck Cinema in Berkeley.For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a> visit www.landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> . \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23620/fears_of_the_dark",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023620",
"label": "arts"
},
"arts_23586": {
"type": "posts",
"id": "arts_23586",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23586",
"score": null,
"sort": [
1224795995000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1224795995,
"format": "standard",
"title": "Changeling",
"headTitle": "Changeling | KQED",
"content": "\u003cp>Clint Eastwood, his admirers like to say, makes old-fashioned movies with old-fashioned values. My heart swells just typing those words, but I’m not duped by nostalgia or sentimentality. As the Carmel codger proves for the ‘nth time with the glossy and ponderous \u003cb>Changeling\u003c/b>, professionalism without inspiration may be no hindrance to a plumber, but it is a fatal handicap for a filmmaker.\u003c/p>\n\u003cp>In the post-Tarantino world, where films unfold out of order or simultaneously move forward and backward in time, a linear story requires something extra — inspiration, passion, gritty mise-en-scene or enormous energy — to engage audiences on a visceral level. Eastwood’s solemn movies, with their attention to craft and detail, oh-so-tasteful sensibility, perfunctory plotting, metronome pacing and palpable yet punchless morality, don’t command our attention and demand our souls so much as ask us to sit politely and cluck in righteous indignation. That worked OK in the ’50s, as Stanley Kramer’s career attests, but not anymore.\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens with a melancholy saxophone and a thick-lipped, heavily made-up Angelina Jolie, a double-barreled homage to the quintessential celluloid saga of L.A. corruption, \u003cb>Chinatown\u003c/b> (starring thick-lipped, heavily made-up Faye Dunaway). This isn’t the postwar period, however, but 1928, a kindler, gentler era when a single mother could work at the phone company and own a modest home. And yet, notwithstanding Eastwood’s two-hour-plus crusade to put St. Angie on a pedestal, it’s a man’s world.\u003c/p>\n\u003cp>J. Michael Straczynski’s simplistic script, based on a true story but inevitably embellished in places, imagines switchboard supervisor Christine Collins (Jolie) arriving home late from work one Saturday to find her nine-year-old son Walter missing. After several miserable weeks, the police declare they have found the boy in Illinois, and they stage a media-packed reunion at the train station. But Collins knows instantly that the lad isn’t Walter, and persists in challenging the arrogant police captain to reopen the case.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> puts Collins through the wringer, ratcheting her anguish and persecution and cinching her underdog status, only to squander all that emotional currency by switching gears to a policier and crime story. The two roads eventually meet up, but our intimate connection with the main character has been lost.\u003c/p>\n\u003cp>Curiously, despite the ample opportunities afforded by the disparate plot threads and the passage of time, Eastwood includes nary a whiff of the Depression, or of the gangs of orphans, runaways and unwanted children haunting L.A. and riding the rails in the ’20s and ’30s. His social commentary is limited to some passing digs at the pack mentality of newspapermen and a full-scale indictment of the brutal and uncontrolled authority of the LAPD.\u003c/p>\n\u003cp>As a way to amuse myself, I read the latter as a vague reference to the Bush years — the above-the-law arrogance of those in power, the sheep-like note-taking of the press corps, the Guantanamo-style rendition of troublemakers. Eastwood’s ineffectual wrist-slaps, mere weeks before the administration evacuates the premises, barely warrant mentioning. But it’s instructive — or perhaps just sadly comical — that the fellow serving up this cautionary historical fable about the abuse of police power enthusiastically played “Dirty” Harry Callahan, an ends-justify-the-means cop who leapt to pop-culture superstardom as the right-wing poster boy for Nixon-era law-and-order.\u003c/p>\n\u003cp>Even more insulting, depending on your sensitivity to Hollywood’s consistently unflattering portrayals of women, is the condescension heaped on Collins. Much is made — by every male character along with the filmmakers — of her gallant and courageous stand against the forces of evil. But if one looks closely, she’s more of a victim and a symbol than a heroine. The actual work of freeing the citizenry from the LAPD’s yoke is spearheaded by a fearless Presbyterian minister with an unrelenting radio program (John Malkovich, channeling Vincent Price) and the high-powered upper-crust attorney who takes the LAPD to court.\u003c/p>\n\u003cp>The most depressing aspect of \u003cb>Changeling\u003c/b> isn’t either of those violations, or the six or so endings it takes before we are finally released to continue with our lives. It is Eastwood’s stultifying pretension that he is revealing Great American Truths. An anachronism and Olympian spoon-feeder, Eastwood sells his characters short and does even worse by his audiences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens Friday, October 24, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 775,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052943,
"excerpt": "Clint Eastwood, his admirers like to say, makes old-fashioned movies with old-fashioned values. My heart swells just typing those words, but I'm not duped by nostalgia or sentimentality.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Clint Eastwood, his admirers like to say, makes old-fashioned movies with old-fashioned values. My heart swells just typing those words, but I'm not duped by nostalgia or sentimentality.",
"title": "Changeling | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Changeling",
"datePublished": "2008-10-23T14:06:35-07:00",
"dateModified": "2024-01-12T01:49:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "changeling",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23586/changeling",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clint Eastwood, his admirers like to say, makes old-fashioned movies with old-fashioned values. My heart swells just typing those words, but I’m not duped by nostalgia or sentimentality. As the Carmel codger proves for the ‘nth time with the glossy and ponderous \u003cb>Changeling\u003c/b>, professionalism without inspiration may be no hindrance to a plumber, but it is a fatal handicap for a filmmaker.\u003c/p>\n\u003cp>In the post-Tarantino world, where films unfold out of order or simultaneously move forward and backward in time, a linear story requires something extra — inspiration, passion, gritty mise-en-scene or enormous energy — to engage audiences on a visceral level. Eastwood’s solemn movies, with their attention to craft and detail, oh-so-tasteful sensibility, perfunctory plotting, metronome pacing and palpable yet punchless morality, don’t command our attention and demand our souls so much as ask us to sit politely and cluck in righteous indignation. That worked OK in the ’50s, as Stanley Kramer’s career attests, but not anymore.\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens with a melancholy saxophone and a thick-lipped, heavily made-up Angelina Jolie, a double-barreled homage to the quintessential celluloid saga of L.A. corruption, \u003cb>Chinatown\u003c/b> (starring thick-lipped, heavily made-up Faye Dunaway). This isn’t the postwar period, however, but 1928, a kindler, gentler era when a single mother could work at the phone company and own a modest home. And yet, notwithstanding Eastwood’s two-hour-plus crusade to put St. Angie on a pedestal, it’s a man’s world.\u003c/p>\n\u003cp>J. Michael Straczynski’s simplistic script, based on a true story but inevitably embellished in places, imagines switchboard supervisor Christine Collins (Jolie) arriving home late from work one Saturday to find her nine-year-old son Walter missing. After several miserable weeks, the police declare they have found the boy in Illinois, and they stage a media-packed reunion at the train station. But Collins knows instantly that the lad isn’t Walter, and persists in challenging the arrogant police captain to reopen the case.\u003c/p>\n\u003cp>.\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>\u003cb>Changeling\u003c/b> puts Collins through the wringer, ratcheting her anguish and persecution and cinching her underdog status, only to squander all that emotional currency by switching gears to a policier and crime story. The two roads eventually meet up, but our intimate connection with the main character has been lost.\u003c/p>\n\u003cp>Curiously, despite the ample opportunities afforded by the disparate plot threads and the passage of time, Eastwood includes nary a whiff of the Depression, or of the gangs of orphans, runaways and unwanted children haunting L.A. and riding the rails in the ’20s and ’30s. His social commentary is limited to some passing digs at the pack mentality of newspapermen and a full-scale indictment of the brutal and uncontrolled authority of the LAPD.\u003c/p>\n\u003cp>As a way to amuse myself, I read the latter as a vague reference to the Bush years — the above-the-law arrogance of those in power, the sheep-like note-taking of the press corps, the Guantanamo-style rendition of troublemakers. Eastwood’s ineffectual wrist-slaps, mere weeks before the administration evacuates the premises, barely warrant mentioning. But it’s instructive — or perhaps just sadly comical — that the fellow serving up this cautionary historical fable about the abuse of police power enthusiastically played “Dirty” Harry Callahan, an ends-justify-the-means cop who leapt to pop-culture superstardom as the right-wing poster boy for Nixon-era law-and-order.\u003c/p>\n\u003cp>Even more insulting, depending on your sensitivity to Hollywood’s consistently unflattering portrayals of women, is the condescension heaped on Collins. Much is made — by every male character along with the filmmakers — of her gallant and courageous stand against the forces of evil. But if one looks closely, she’s more of a victim and a symbol than a heroine. The actual work of freeing the citizenry from the LAPD’s yoke is spearheaded by a fearless Presbyterian minister with an unrelenting radio program (John Malkovich, channeling Vincent Price) and the high-powered upper-crust attorney who takes the LAPD to court.\u003c/p>\n\u003cp>The most depressing aspect of \u003cb>Changeling\u003c/b> isn’t either of those violations, or the six or so endings it takes before we are finally released to continue with our lives. It is Eastwood’s stultifying pretension that he is revealing Great American Truths. An anachronism and Olympian spoon-feeder, Eastwood sells his characters short and does even worse by his audiences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens Friday, October 24, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23586/changeling",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023586",
"label": "arts"
},
"arts_23538": {
"type": "posts",
"id": "arts_23538",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23538",
"score": null,
"sort": [
1224100490000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1224100490,
"format": "standard",
"title": "Arab Film Festival",
"headTitle": "Arab Film Festival | KQED",
"content": "\u003cp>Probably the two most common shorthand reminders of Arabic contributions to human civilization are algebra and the annual \u003cb>Arab Film Festival\u003c/b>. Handily, these are related.\u003c/p>\n\u003cp>\u003c/p>\u003cp>That is, some algebra surely will be required to figure out how to negotiate a festival packing 16 fiction features, 16 documentary features, 25 fiction shorts and 15 documentary shorts (plus some panel discussions, receptions and an awards ceremony) into 13 days and four cities (San Francisco, Berkeley, San Jose and Los Angeles), all while umpteen other don’t-miss Bay Area film festivals seem to also be going on. But do the math, because the \u003cb>Arab Film Festival\u003c/b>, which turns 12 this year, is a no-seriously-don’t-miss festival.\u003c/p>\n\u003cp>It is a fair point that being reminded all the time of Arabs’ contributions to human civilization might seem a little patronizing. Then again, so might the 900 much more familiar movies full of offensive, idiotic, cringe-inducing stereotypes that Jack Shaheen examined a few years ago in his bestseller \u003cb>Reel Bad Arabs: How Hollywood Vilifies a People\u003c/b>.\u003c/p>\n\u003cp>Those movies aren’t playing at the \u003cb>Arab Film Festival\u003c/b> — the general idea being that your faint recollection of Chuck Norris and Lee Marvin taking on Lebanese terrorists in 1986’s \u003cb>The Delta Force\u003c/b> may be less important to the larger cause of cultural literacy and world citizenship than your awareness of, say, Lebanese director (and San Francisco State University alumna) Mai Masri’s \u003cb>33 Days\u003c/b>, a documentary about Israel’s attack on Lebanon in the summer of 2006.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And no, not every film being shown here is intended as a course of instruction. That’s nearly impossible anyway, given the steadily increasing breadth of material this ambitious festival has to work with. Even the titles alone — such as \u003cb>Bahraini Tale\u003c/b>, \u003cb>Arafat & I\u003c/b>, \u003cb>Paloma Delight\u003c/b>, \u003cb>Refugees for Life\u003c/b>, \u003cb>Slingshot Hip Hop\u003c/b>, to take a random sample — can attest to the \u003cb>Arab Film Festival\u003c/b>‘s wide diversity of tone and technique.\u003c/p>\n\u003cp>It opens on Thursday, October 16, with the Bay Area premiere of director Daoud Aoulad-Syad’s sly new comedy \u003cb>Waiting for Pasolini\u003c/b>, in which a Moroccan village, once frequented by various American and European film shoots, prepares itself for an impending Italian production. This is a movie about the many universal mysteries of what movies do to us, and a fitting introduction to an indispensably illuminating festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 12th annual \u003cb>Arab Film Festival\u003c/b> runs October 16 through 28, 2008 at venues in San Francisco, Berkeley, San Jose and Los Angeles.For \u003ca href=\"http://www.aff.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit aff.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 438,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052956,
"excerpt": "Some algebra surely will be required to figure out how to negotiate a festival packing 16 fiction features, 16 documentary features, 25 fiction shorts and 15 documentary shorts into 13 days and four cities (San Francisco, Berkeley, San Jose and Los Angeles), all while umpteen other don't-miss Bay Area film festivals seem to also be going on.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Some algebra surely will be required to figure out how to negotiate a festival packing 16 fiction features, 16 documentary features, 25 fiction shorts and 15 documentary shorts into 13 days and four cities (San Francisco, Berkeley, San Jose and Los Angeles), all while umpteen other don't-miss Bay Area film festivals seem to also be going on.",
"title": "Arab Film Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Arab Film Festival",
"datePublished": "2008-10-15T12:54:50-07:00",
"dateModified": "2024-01-12T01:49:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "arab_film_festival",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"path": "/arts/23538/arab_film_festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Probably the two most common shorthand reminders of Arabic contributions to human civilization are algebra and the annual \u003cb>Arab Film Festival\u003c/b>. Handily, these are related.\u003c/p>\n\u003cp>\u003c/p>\u003cp>That is, some algebra surely will be required to figure out how to negotiate a festival packing 16 fiction features, 16 documentary features, 25 fiction shorts and 15 documentary shorts (plus some panel discussions, receptions and an awards ceremony) into 13 days and four cities (San Francisco, Berkeley, San Jose and Los Angeles), all while umpteen other don’t-miss Bay Area film festivals seem to also be going on. But do the math, because the \u003cb>Arab Film Festival\u003c/b>, which turns 12 this year, is a no-seriously-don’t-miss festival.\u003c/p>\n\u003cp>It is a fair point that being reminded all the time of Arabs’ contributions to human civilization might seem a little patronizing. Then again, so might the 900 much more familiar movies full of offensive, idiotic, cringe-inducing stereotypes that Jack Shaheen examined a few years ago in his bestseller \u003cb>Reel Bad Arabs: How Hollywood Vilifies a People\u003c/b>.\u003c/p>\n\u003cp>Those movies aren’t playing at the \u003cb>Arab Film Festival\u003c/b> — the general idea being that your faint recollection of Chuck Norris and Lee Marvin taking on Lebanese terrorists in 1986’s \u003cb>The Delta Force\u003c/b> may be less important to the larger cause of cultural literacy and world citizenship than your awareness of, say, Lebanese director (and San Francisco State University alumna) Mai Masri’s \u003cb>33 Days\u003c/b>, a documentary about Israel’s attack on Lebanon in the summer of 2006.\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>And no, not every film being shown here is intended as a course of instruction. That’s nearly impossible anyway, given the steadily increasing breadth of material this ambitious festival has to work with. Even the titles alone — such as \u003cb>Bahraini Tale\u003c/b>, \u003cb>Arafat & I\u003c/b>, \u003cb>Paloma Delight\u003c/b>, \u003cb>Refugees for Life\u003c/b>, \u003cb>Slingshot Hip Hop\u003c/b>, to take a random sample — can attest to the \u003cb>Arab Film Festival\u003c/b>‘s wide diversity of tone and technique.\u003c/p>\n\u003cp>It opens on Thursday, October 16, with the Bay Area premiere of director Daoud Aoulad-Syad’s sly new comedy \u003cb>Waiting for Pasolini\u003c/b>, in which a Moroccan village, once frequented by various American and European film shoots, prepares itself for an impending Italian production. This is a movie about the many universal mysteries of what movies do to us, and a fitting introduction to an indispensably illuminating festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 12th annual \u003cb>Arab Film Festival\u003c/b> runs October 16 through 28, 2008 at venues in San Francisco, Berkeley, San Jose and Los Angeles.For \u003ca href=\"http://www.aff.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit aff.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23538/arab_film_festival",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023538",
"label": "arts"
},
"arts_23499": {
"type": "posts",
"id": "arts_23499",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23499",
"score": null,
"sort": [
1223504847000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1223504847,
"format": "standard",
"title": "The Superstars Next Door",
"headTitle": "The Superstars Next Door | KQED",
"content": "\u003cp>Ever since the archaic Production Code crumbled 40 years ago, and screen sex and nudity became staples of the American cinema, audiences have taken enormous pleasure in watching movie stars disrobe. In the Internet age, the nude bodies viewed most frequently belong to ordinary people. These different acts of voyeurism trigger dissimilar fantasies, raising a question: What do amateurs have that stars don’t?\u003c/p>\n\u003cp>This rumination on the implications of on-camera sex is inspired by the return of Jack Stevenson, a collector, curator and writer (\u003cb>Land of a Thousand Balconies\u003c/b>) who launched his career in San Francisco before moving to Denmark in the ’90s. His biannual visit to Yerba Beuna Center For the Arts this weekend includes three programs of vintage skin and salaciousness under the banner \u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b>. For all the lust and lasciviousness on display, though, it’s Peoria-innocent compared to the stuff you can watch today with the right URL and a couple of mouse clicks.\u003c/p>\n\u003cp>The first half of tonight’s double bill is entitled “Home Movies,” and comprises four short 16mm films made in 1968 with nonprofessionals. (In every sense of the word, presumably, though one wonders.) The one previewed for the press, the playful, awkward \u003cb>His Father’s Call-Girl\u003c/b>, unspools inside the long-gone Green Door Books on Sixth Street, a no-frills shop that sold a variety of porn mags. Larry and his hot date Lola drop in to browse and, in short order, the dirty old man behind the counter is filming them having sex in the back room.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The tawdriness of \u003cb>His Father’s Call-Girl\u003c/b> has been diluted by the passage of time, or perhaps we are charmed at the thought that this otherwise unremarkable movie immortalizes the firmness and flexibility of its now-septuagenarian stars. Lola’s big hair, frosted to a fare-thee-well, provides another time-stamp, as well as a useful historical corrective to the perception that every San Francisco gal in those days was an Herbal Essence-scented hippie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s truly surprising about this particular relic is the absence of swear words, dirty talk and sexual technique. The actors, though enthusiastic, rely on a pretty limited (and only partly visible) bedroom repertoire. The Sexual Revolution may have removed the stigma of multiple partners, but it took another couple decades before the average American was comfortable experimenting with a broader range of, um, activities.\u003c/p>\n\u003cp>The second show, “Underground,” unearths a 65-minute feature from 1968, \u003cb>The Meatrack\u003c/b>. A monotone, cold-hearted hunk doesn’t just propel the flick; he gives it its name. Everybody wants a piece of the studly J.C., from horny housewives to male drivers who know what kind of ride a hitchhiker in a faded jean jacket is seeking. Since the soft-core sex is just as obscured as that in \u003cb>His Father’s Call-Girl\u003c/b>, the film’s most interesting aspect is the artsy flashbacks to J.C.’s childhood and adolescence, which etch a psychological profile. “You just take account of what you got,” his bitter mother lectures him, “and use it for all it’s worth.”\u003c/p>\n\u003cp>J.C.’s bisexuality doesn’t feel like a political statement so much as a business decision. Director Richard Stockton is an equal-opportunity titillator, just as J.C. is an opportunist open to any offer. (The film boasts precious few exterior shots, but there’s a brief sequence in Union Square that includes glimpses of no less than five airline offices. These few seconds assure the film’s historical value.)\u003c/p>\n\u003cp>Jack Stevenson’s residency concludes Saturday night with “Flaming Striptease ? A History of Live Sex Performance.” As you’d expect, the Condor Club, made internationally famous by Carol Doda, makes a couple of appearances in this 90-minute collection of clips covering the entire range from burlesque to topless dancing to live sex acts. My favorite bit consisted of a Latino rock band, not untalented but way too much in thrall to Carlos Santana, playing behind a couple of girls dancing in g-strings. It’s entertainment, it’s art and it’s commerce, all wrapped up in one happy sliver of ’60s nightlife.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b> screens October 9 and 11, 2008 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 783,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705052965,
"excerpt": "Ever since the archaic Production Code crumbled 40 years ago, and screen sex and nudity became staples of the American cinema, audiences have taken enormous pleasure in watching movie stars disrobe.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ever since the archaic Production Code crumbled 40 years ago, and screen sex and nudity became staples of the American cinema, audiences have taken enormous pleasure in watching movie stars disrobe.",
"title": "The Superstars Next Door | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Superstars Next Door",
"datePublished": "2008-10-08T15:27:27-07:00",
"dateModified": "2024-01-12T01:49:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_superstars_next_door",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/23499/the_superstars_next_door",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since the archaic Production Code crumbled 40 years ago, and screen sex and nudity became staples of the American cinema, audiences have taken enormous pleasure in watching movie stars disrobe. In the Internet age, the nude bodies viewed most frequently belong to ordinary people. These different acts of voyeurism trigger dissimilar fantasies, raising a question: What do amateurs have that stars don’t?\u003c/p>\n\u003cp>This rumination on the implications of on-camera sex is inspired by the return of Jack Stevenson, a collector, curator and writer (\u003cb>Land of a Thousand Balconies\u003c/b>) who launched his career in San Francisco before moving to Denmark in the ’90s. His biannual visit to Yerba Beuna Center For the Arts this weekend includes three programs of vintage skin and salaciousness under the banner \u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b>. For all the lust and lasciviousness on display, though, it’s Peoria-innocent compared to the stuff you can watch today with the right URL and a couple of mouse clicks.\u003c/p>\n\u003cp>The first half of tonight’s double bill is entitled “Home Movies,” and comprises four short 16mm films made in 1968 with nonprofessionals. (In every sense of the word, presumably, though one wonders.) The one previewed for the press, the playful, awkward \u003cb>His Father’s Call-Girl\u003c/b>, unspools inside the long-gone Green Door Books on Sixth Street, a no-frills shop that sold a variety of porn mags. Larry and his hot date Lola drop in to browse and, in short order, the dirty old man behind the counter is filming them having sex in the back room.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The tawdriness of \u003cb>His Father’s Call-Girl\u003c/b> has been diluted by the passage of time, or perhaps we are charmed at the thought that this otherwise unremarkable movie immortalizes the firmness and flexibility of its now-septuagenarian stars. Lola’s big hair, frosted to a fare-thee-well, provides another time-stamp, as well as a useful historical corrective to the perception that every San Francisco gal in those days was an Herbal Essence-scented hippie.\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>What’s truly surprising about this particular relic is the absence of swear words, dirty talk and sexual technique. The actors, though enthusiastic, rely on a pretty limited (and only partly visible) bedroom repertoire. The Sexual Revolution may have removed the stigma of multiple partners, but it took another couple decades before the average American was comfortable experimenting with a broader range of, um, activities.\u003c/p>\n\u003cp>The second show, “Underground,” unearths a 65-minute feature from 1968, \u003cb>The Meatrack\u003c/b>. A monotone, cold-hearted hunk doesn’t just propel the flick; he gives it its name. Everybody wants a piece of the studly J.C., from horny housewives to male drivers who know what kind of ride a hitchhiker in a faded jean jacket is seeking. Since the soft-core sex is just as obscured as that in \u003cb>His Father’s Call-Girl\u003c/b>, the film’s most interesting aspect is the artsy flashbacks to J.C.’s childhood and adolescence, which etch a psychological profile. “You just take account of what you got,” his bitter mother lectures him, “and use it for all it’s worth.”\u003c/p>\n\u003cp>J.C.’s bisexuality doesn’t feel like a political statement so much as a business decision. Director Richard Stockton is an equal-opportunity titillator, just as J.C. is an opportunist open to any offer. (The film boasts precious few exterior shots, but there’s a brief sequence in Union Square that includes glimpses of no less than five airline offices. These few seconds assure the film’s historical value.)\u003c/p>\n\u003cp>Jack Stevenson’s residency concludes Saturday night with “Flaming Striptease ? A History of Live Sex Performance.” As you’d expect, the Condor Club, made internationally famous by Carol Doda, makes a couple of appearances in this 90-minute collection of clips covering the entire range from burlesque to topless dancing to live sex acts. My favorite bit consisted of a Latino rock band, not untalented but way too much in thrall to Carlos Santana, playing behind a couple of girls dancing in g-strings. It’s entertainment, it’s art and it’s commerce, all wrapped up in one happy sliver of ’60s nightlife.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b> screens October 9 and 11, 2008 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23499/the_superstars_next_door",
"authors": [
"120"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10023499",
"label": "arts"
},
"arts_23496": {
"type": "posts",
"id": "arts_23496",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23496",
"score": null,
"sort": [
1223329876000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1223329876,
"format": "standard",
"title": "French Cinema Now",
"headTitle": "French Cinema Now | KQED",
"content": "\u003cp>For many years, America has made a sport of wondering why the French are so healthy. They smoke like fiends, which explains the low rates of obesity. They drink wine like it’s going out of style, which explains the low rates of heart disease. But what accounts for that robust vitality, that way they have of seeming so completely at ease in a messy, crowded and often monstrous world?\u003c/p>\n\u003cp>The answer is obvious. It’s the cinema.\u003c/p>\n\u003cp>If there is anything the French seem to appreciate more than wine, cigarettes and a breezy contempt for unsophisticated Americans, it is the glorious, inexhaustible art of cinema. Case in point: \u003cb>French Cinema Now\u003c/b>, by which the San Francisco Film Society imports ten French movies to the Clay Theatre for a multitude of rich emotional and intellectual experiences, spread out judiciously over five days.\u003c/p>\n\u003cp>Ten films may not seem like many, but they are expertly chosen. Honestly, there’s not a single movie in this lot that’s safe to toss into the category of “oh, well, if time is tight, it would be OK to skip that one.” Not if you want to reap the full benefits of the French cinema experience, anyway.\u003c/p>\n\u003cp>\u003cb>Six In Paris\u003c/b>, a 1965 Paris-valentine portmanteau from six distinguished directors of the French New Wave. \u003cb>The Class\u003c/b>, a docudrama of a year in the life of suburban high school students from the brilliant, socially conscious and philosophically rigorous director Laurent Cantet. \u003cb>Welcome to the Sticks\u003c/b>, a comedy of regionalist status anxiety, which most Americans, and denizens of the Bay Area in particular, surely can understand. Seriously, doctors should be recommending this stuff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now’s a good time to get in on this sous-le-radar health craze if for no other reason than the onscreen ubiquity of the extraordinarily lively French actor Mathieu Amalric. He’s the guy from \u003cb>The Diving Bell and the Butterfly\u003c/b> who delivered pretty much an entire performance from one eyeball, and is no doubt perfectly cast as the villain, a nefarious business mogul, in the forthcoming James Bond movie \u003cb>Quantum of Solace\u003c/b>.\u003c/p>\n\u003cp>He’s also in three of the films in \u003cb>French Cinema Now\u003c/b>. First, in the festival’s opener, \u003cb>A Christmas Tale\u003c/b>, Amalric plays a wayward son, carrying on. This movie is the latest from much-adored filmmaker Arnaud Desplechin, who makes a compelling case that in fact the French are just like us. They have highly dramatic, absurdly comedic, almost catastrophically dysfunctional family reunions at Christmastime too. It’s just that in their case, mom is Catherine Deneuve. (OK, yes, some are born into privilege.)\u003c/p>\n\u003cp>Desplechin obviously pays attention to the many wondrous nuances of life, people and movies, and so he uses Amalric often. In \u003cb>My Sex Life…or How I Got Into an Argument\u003c/b>, an oh-it-is-so-exactly-like-that dramedy of grad-school life from 1996, the actor ably plays a neurotic assistant professor of philosophy.\u003c/p>\n\u003cp>Mais bien sur, Amalric plays well with other directors, too. In \u003cb>Actresses\u003c/b>, he shines as a hot-headed and tyrannical theater director making life complicated for a melancholic middle-aged actress (director/co-writer/star Valeria Bruni Tedeschi).\u003c/p>\n\u003cp>And of course Amalric’s is only one of the many engaging personalities with which to become acquainted through this short and potent fest. Of these there are so many, in fact, that the SFFS has wisely elected to make \u003cb>French Cinema Now\u003c/b> an annual event. If nothing else, it may prove a great service to the American lifespan.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>French Cinema Now\u003c/b> runs October 8 through 12, 2008 at the Clay Theatre in San Francisco.For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 626,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052967,
"excerpt": "For many years, America has made a sport of wondering why the French are so healthy. They smoke like fiends, which explains the low rates of obesity. They drink wine like it's going out of style, which explains the low rates of heart disease. But what accounts for that robust vitality?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "For many years, America has made a sport of wondering why the French are so healthy. They smoke like fiends, which explains the low rates of obesity. They drink wine like it's going out of style, which explains the low rates of heart disease. But what accounts for that robust vitality?",
"title": "French Cinema Now | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "French Cinema Now",
"datePublished": "2008-10-06T14:51:16-07:00",
"dateModified": "2024-01-12T01:49:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "french_cinema_now",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"path": "/arts/23496/french_cinema_now",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many years, America has made a sport of wondering why the French are so healthy. They smoke like fiends, which explains the low rates of obesity. They drink wine like it’s going out of style, which explains the low rates of heart disease. But what accounts for that robust vitality, that way they have of seeming so completely at ease in a messy, crowded and often monstrous world?\u003c/p>\n\u003cp>The answer is obvious. It’s the cinema.\u003c/p>\n\u003cp>If there is anything the French seem to appreciate more than wine, cigarettes and a breezy contempt for unsophisticated Americans, it is the glorious, inexhaustible art of cinema. Case in point: \u003cb>French Cinema Now\u003c/b>, by which the San Francisco Film Society imports ten French movies to the Clay Theatre for a multitude of rich emotional and intellectual experiences, spread out judiciously over five days.\u003c/p>\n\u003cp>Ten films may not seem like many, but they are expertly chosen. Honestly, there’s not a single movie in this lot that’s safe to toss into the category of “oh, well, if time is tight, it would be OK to skip that one.” Not if you want to reap the full benefits of the French cinema experience, anyway.\u003c/p>\n\u003cp>\u003cb>Six In Paris\u003c/b>, a 1965 Paris-valentine portmanteau from six distinguished directors of the French New Wave. \u003cb>The Class\u003c/b>, a docudrama of a year in the life of suburban high school students from the brilliant, socially conscious and philosophically rigorous director Laurent Cantet. \u003cb>Welcome to the Sticks\u003c/b>, a comedy of regionalist status anxiety, which most Americans, and denizens of the Bay Area in particular, surely can understand. Seriously, doctors should be recommending this stuff.\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>Now’s a good time to get in on this sous-le-radar health craze if for no other reason than the onscreen ubiquity of the extraordinarily lively French actor Mathieu Amalric. He’s the guy from \u003cb>The Diving Bell and the Butterfly\u003c/b> who delivered pretty much an entire performance from one eyeball, and is no doubt perfectly cast as the villain, a nefarious business mogul, in the forthcoming James Bond movie \u003cb>Quantum of Solace\u003c/b>.\u003c/p>\n\u003cp>He’s also in three of the films in \u003cb>French Cinema Now\u003c/b>. First, in the festival’s opener, \u003cb>A Christmas Tale\u003c/b>, Amalric plays a wayward son, carrying on. This movie is the latest from much-adored filmmaker Arnaud Desplechin, who makes a compelling case that in fact the French are just like us. They have highly dramatic, absurdly comedic, almost catastrophically dysfunctional family reunions at Christmastime too. It’s just that in their case, mom is Catherine Deneuve. (OK, yes, some are born into privilege.)\u003c/p>\n\u003cp>Desplechin obviously pays attention to the many wondrous nuances of life, people and movies, and so he uses Amalric often. In \u003cb>My Sex Life…or How I Got Into an Argument\u003c/b>, an oh-it-is-so-exactly-like-that dramedy of grad-school life from 1996, the actor ably plays a neurotic assistant professor of philosophy.\u003c/p>\n\u003cp>Mais bien sur, Amalric plays well with other directors, too. In \u003cb>Actresses\u003c/b>, he shines as a hot-headed and tyrannical theater director making life complicated for a melancholic middle-aged actress (director/co-writer/star Valeria Bruni Tedeschi).\u003c/p>\n\u003cp>And of course Amalric’s is only one of the many engaging personalities with which to become acquainted through this short and potent fest. Of these there are so many, in fact, that the SFFS has wisely elected to make \u003cb>French Cinema Now\u003c/b> an annual event. If nothing else, it may prove a great service to the American lifespan.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>French Cinema Now\u003c/b> runs October 8 through 12, 2008 at the Clay Theatre in San Francisco.For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23496/french_cinema_now",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023496",
"label": "arts"
},
"arts_23435": {
"type": "posts",
"id": "arts_23435",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23435",
"score": null,
"sort": [
1222375710000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1222375710,
"format": "standard",
"title": "Wayne Wang: A Thousand Years of Good Prayers",
"headTitle": "Wayne Wang: A Thousand Years of Good Prayers | KQED",
"content": "\u003cp>Director Wayne Wang’s recent big studio movies have starred Jennifer Lopez (\u003cb>Maid in Manhattan\u003c/b>), Queen Latifah (\u003cb>Last Holiday\u003c/b>) and a lovable canine (\u003cb>Because of Winn Dixie\u003c/b>.) With his latest, \u003cb>A Thousand Years of Good Prayers\u003c/b>, the director of 1982’s \u003cb>Chan is Missing\u003c/b>, considered a landmark in Asian American cinema, returns to his indie roots and another story of the Chinese in America.\u003c/p>\n\u003cp>We sat down in San Francisco to discuss the movie. Wang ignored the nuts, dried fruit and blueberries set out for him (“Too healthy for me. I like chocolate.”) and talked about the relationship between language and freedom, the difficulty of communication, and the importance of breathing.\u003c/p>\n\u003cp>I asked Wang why he wanted to make a movie of Yiyun Li’s story about a widower from China, Mr. Shi, who visits his divorced daughter, Yilan, in America. The relationship between the father and daughter is strained, and she doesn’t appreciate his efforts to fix her life. Wang says there were lots of reasons the story appealed to him. “I identified personally quite a lot,” he said. “I came to America and learned a new language and culture and freedom.”\u003c/p>\n\u003cp>As a teenager, Wang moved to the Bay Area from Hong Kong and went to the California College of Arts and Crafts (now CCA) in Oakland. Wang says he had a hard time communicating with his father, as the daughter and father do in the movie. Some of his favorite scenes in \u003cb>A Thousand Years of Good Prayers\u003c/b> are the ones between Mr. Shi and an Iranian woman he meets in the park. Although neither one speaks English well, they are able to talk to each other about their fears that their children don’t want them around.\u003c/p>\n\u003cp>“They find a commonality in their body language,” Wang says. “They are able to express themselves. The father and daughter speak the same language, but they don’t communicate.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wanted to know why Wang has veered wildly between styles and subject matters with his movies. For example, after making \u003cb>The Joy Luck Club\u003c/b>, Amy Tan’s story of mothers and daughters, he worked with writer Paul Auster on \u003cb>Smoke\u003c/b>, a comedy set in a smoke shop in Brooklyn. He says he hates the idea of being pinned down.\u003c/p>\n\u003cp>“After \u003cb>The Joy Luck Club\u003c/b>, all I was getting offered was Chinese women movies,” he says. “So I went to Brooklyn and made a guy movie.”\u003c/p>\n\u003cp>In Hollywood movies all the silences and pauses are taken out, Wang says. The pacing in \u003cb>A Thousand Years of Good Prayers\u003c/b> is radically different. “My doctor always tells me I have very shallow breathing,” he says. “With this movie, I wanted to breathe. I wanted to take my time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Thousand Years of Good Prayers\u003c/b> opens Friday, September 26, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 495,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052981,
"excerpt": " \"My doctor always tells me I have very shallow breathing,\" Wayne Wang says. \"With this movie, I wanted to breathe. I wanted to take my time.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": " "My doctor always tells me I have very shallow breathing," Wayne Wang says. "With this movie, I wanted to breathe. I wanted to take my time."",
"title": "Wayne Wang: A Thousand Years of Good Prayers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wayne Wang: A Thousand Years of Good Prayers",
"datePublished": "2008-09-25T13:48:30-07:00",
"dateModified": "2024-01-12T01:49:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wayne_wang_a_thousand_years_of_good_prayers",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"nprByline": "Emily Wilson",
"sticky": false,
"path": "/arts/23435/wayne_wang_a_thousand_years_of_good_prayers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Wayne Wang’s recent big studio movies have starred Jennifer Lopez (\u003cb>Maid in Manhattan\u003c/b>), Queen Latifah (\u003cb>Last Holiday\u003c/b>) and a lovable canine (\u003cb>Because of Winn Dixie\u003c/b>.) With his latest, \u003cb>A Thousand Years of Good Prayers\u003c/b>, the director of 1982’s \u003cb>Chan is Missing\u003c/b>, considered a landmark in Asian American cinema, returns to his indie roots and another story of the Chinese in America.\u003c/p>\n\u003cp>We sat down in San Francisco to discuss the movie. Wang ignored the nuts, dried fruit and blueberries set out for him (“Too healthy for me. I like chocolate.”) and talked about the relationship between language and freedom, the difficulty of communication, and the importance of breathing.\u003c/p>\n\u003cp>I asked Wang why he wanted to make a movie of Yiyun Li’s story about a widower from China, Mr. Shi, who visits his divorced daughter, Yilan, in America. The relationship between the father and daughter is strained, and she doesn’t appreciate his efforts to fix her life. Wang says there were lots of reasons the story appealed to him. “I identified personally quite a lot,” he said. “I came to America and learned a new language and culture and freedom.”\u003c/p>\n\u003cp>As a teenager, Wang moved to the Bay Area from Hong Kong and went to the California College of Arts and Crafts (now CCA) in Oakland. Wang says he had a hard time communicating with his father, as the daughter and father do in the movie. Some of his favorite scenes in \u003cb>A Thousand Years of Good Prayers\u003c/b> are the ones between Mr. Shi and an Iranian woman he meets in the park. Although neither one speaks English well, they are able to talk to each other about their fears that their children don’t want them around.\u003c/p>\n\u003cp>“They find a commonality in their body language,” Wang says. “They are able to express themselves. The father and daughter speak the same language, but they don’t communicate.”\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 wanted to know why Wang has veered wildly between styles and subject matters with his movies. For example, after making \u003cb>The Joy Luck Club\u003c/b>, Amy Tan’s story of mothers and daughters, he worked with writer Paul Auster on \u003cb>Smoke\u003c/b>, a comedy set in a smoke shop in Brooklyn. He says he hates the idea of being pinned down.\u003c/p>\n\u003cp>“After \u003cb>The Joy Luck Club\u003c/b>, all I was getting offered was Chinese women movies,” he says. “So I went to Brooklyn and made a guy movie.”\u003c/p>\n\u003cp>In Hollywood movies all the silences and pauses are taken out, Wang says. The pacing in \u003cb>A Thousand Years of Good Prayers\u003c/b> is radically different. “My doctor always tells me I have very shallow breathing,” he says. “With this movie, I wanted to breathe. I wanted to take my time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Thousand Years of Good Prayers\u003c/b> opens Friday, September 26, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23435/wayne_wang_a_thousand_years_of_good_prayers",
"authors": [
"byline_arts_23435"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023435",
"label": "arts"
},
"arts_23421": {
"type": "posts",
"id": "arts_23421",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23421",
"score": null,
"sort": [
1222129231000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1222129231,
"format": "standard",
"title": "Cine Manifest",
"headTitle": "Cine Manifest | KQED",
"content": "\u003cp>Hey kids, let’s put on a Marxist film collective! That, more or less, was a founding principle of Cine Manifest, the seven-member strong (and sometimes less strong) assembly of San Francisco filmmakers working from 1972 through 1978 to make politically potent movies that regular people could tolerate.\u003c/p>\n\u003cp>Judy Irola’s breezy personal documentary \u003cb>Cine Manifest\u003c/b>, new to DVD this week, brings a fond, proud and wistful recollection of the group’s formation and probably inevitable dissolution. Together they shared credit for two earnestly humane and deservedly acclaimed features, \u003cb>Over-Under, Sideways Down\u003c/b> (1977) and \u003cb>Northern Lights\u003c/b> (1978), plus several shorter films of zany vitality celebrating each other’s birthdays, a good deal of infighting, and many, many talking-points memoranda.\u003c/p>\n\u003cp>The gang consisted of Eugene Corr, Peter Gessner, John Hanson, Stephen Lighthill, Rob Nilsson, Steve Wax and Irola — the only woman, whose membership the others had at first denied but reconsidered when she wrote them a note explaining how dumb that was of them.\u003c/p>\n\u003cp>Later, although the collective’s budgetary constraints compelled Irola to give up her Ms. Magazine subscription, she was able to offer much-needed feedback on the portrayal of women in the lads’ scripts, to point out that somebody had to clean the toilets (“I didn’t join so I could be your maid. Love & kisses, Judy”), and to provide the essential, starkly gorgeous black-and-white cinematography of \u003cb>Northern Lights\u003c/b>, a docudrama about Scandinavian immigrant farmers in North Dakota co-written and co-directed by Hanson and Nilsson.\u003c/p>\n\u003cp>\u003cb>Cine Manifest\u003c/b>, the movie, is a touch overlong and lacks external context; it feels like a private (which is not to say exclusive) pet project, perhaps better suited to a featurette than its own full DVD. But it’s an important testimony on behalf of Bay Area artistic ideals, which benefits from the perspective, grace, and good humor of hindsight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think our achievement was not as filmmakers, but it maybe was as a little social experiment,” Gessner says. “It may not have any application to anybody else. I mean, no other film groups tried to follow our example, maybe ’cause they looked at us as a car wreck.”\u003c/p>\n\u003cp>An equally reflective Nilsson looks back on some of his ideas from the period as “pretentious as hell,” but forgives himself, and his comrades because “we were all trying.” Nilsson’s subsequent career in particular has made an impressive case for the cooperative approach to filmmaking, most recently with his astonishing \u003cb>9 @ Night\u003c/b> film series, about life in San Francisco’s Tenderloin.\u003c/p>\n\u003cp>As for Cine Manifest’s brushes with mainstream Hollywood, well, the director of \u003cb>Rebel Without a Cause\u003c/b> did once lie strung out in a sleeping bag on their editing room floor. “Oh my god,” Hanson says, “We evicted Nick Ray. Is that our legacy?”\u003c/p>\n\u003cp>Not entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Cine Manifest\u003c/b> DVD drops on September 23, 2008. For \u003ca href=\"http://www.cinemanifest.com\" target=\"offsite\" rel=\"noopener\">moreinformation\u003c/a>, visit cinemanifest.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 515,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705052984,
"excerpt": "Hey kids, let's put on a Marxist film collective! That, more or less, was a founding principle of Cine Manifest, the seven-member strong (and sometimes less strong) assembly of San Francisco filmmakers working from 1972 through 1978 to make politically potent movies that regular people could tolerate.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Hey kids, let's put on a Marxist film collective! That, more or less, was a founding principle of Cine Manifest, the seven-member strong (and sometimes less strong) assembly of San Francisco filmmakers working from 1972 through 1978 to make politically potent movies that regular people could tolerate.",
"title": "Cine Manifest | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cine Manifest",
"datePublished": "2008-09-22T17:20:31-07:00",
"dateModified": "2024-01-12T01:49:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cine_manifest",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23421/cine_manifest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey kids, let’s put on a Marxist film collective! That, more or less, was a founding principle of Cine Manifest, the seven-member strong (and sometimes less strong) assembly of San Francisco filmmakers working from 1972 through 1978 to make politically potent movies that regular people could tolerate.\u003c/p>\n\u003cp>Judy Irola’s breezy personal documentary \u003cb>Cine Manifest\u003c/b>, new to DVD this week, brings a fond, proud and wistful recollection of the group’s formation and probably inevitable dissolution. Together they shared credit for two earnestly humane and deservedly acclaimed features, \u003cb>Over-Under, Sideways Down\u003c/b> (1977) and \u003cb>Northern Lights\u003c/b> (1978), plus several shorter films of zany vitality celebrating each other’s birthdays, a good deal of infighting, and many, many talking-points memoranda.\u003c/p>\n\u003cp>The gang consisted of Eugene Corr, Peter Gessner, John Hanson, Stephen Lighthill, Rob Nilsson, Steve Wax and Irola — the only woman, whose membership the others had at first denied but reconsidered when she wrote them a note explaining how dumb that was of them.\u003c/p>\n\u003cp>Later, although the collective’s budgetary constraints compelled Irola to give up her Ms. Magazine subscription, she was able to offer much-needed feedback on the portrayal of women in the lads’ scripts, to point out that somebody had to clean the toilets (“I didn’t join so I could be your maid. Love & kisses, Judy”), and to provide the essential, starkly gorgeous black-and-white cinematography of \u003cb>Northern Lights\u003c/b>, a docudrama about Scandinavian immigrant farmers in North Dakota co-written and co-directed by Hanson and Nilsson.\u003c/p>\n\u003cp>\u003cb>Cine Manifest\u003c/b>, the movie, is a touch overlong and lacks external context; it feels like a private (which is not to say exclusive) pet project, perhaps better suited to a featurette than its own full DVD. But it’s an important testimony on behalf of Bay Area artistic ideals, which benefits from the perspective, grace, and good humor of hindsight.\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 think our achievement was not as filmmakers, but it maybe was as a little social experiment,” Gessner says. “It may not have any application to anybody else. I mean, no other film groups tried to follow our example, maybe ’cause they looked at us as a car wreck.”\u003c/p>\n\u003cp>An equally reflective Nilsson looks back on some of his ideas from the period as “pretentious as hell,” but forgives himself, and his comrades because “we were all trying.” Nilsson’s subsequent career in particular has made an impressive case for the cooperative approach to filmmaking, most recently with his astonishing \u003cb>9 @ Night\u003c/b> film series, about life in San Francisco’s Tenderloin.\u003c/p>\n\u003cp>As for Cine Manifest’s brushes with mainstream Hollywood, well, the director of \u003cb>Rebel Without a Cause\u003c/b> did once lie strung out in a sleeping bag on their editing room floor. “Oh my god,” Hanson says, “We evicted Nick Ray. Is that our legacy?”\u003c/p>\n\u003cp>Not entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Cine Manifest\u003c/b> DVD drops on September 23, 2008. For \u003ca href=\"http://www.cinemanifest.com\" target=\"offsite\" rel=\"noopener\">moreinformation\u003c/a>, visit cinemanifest.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23421/cine_manifest",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023421",
"label": "arts"
},
"arts_23418": {
"type": "posts",
"id": "arts_23418",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23418",
"score": null,
"sort": [
1222125735000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1222125735,
"format": "standard",
"title": "Shelf Life",
"headTitle": "Shelf Life | KQED",
"content": "\u003cp>\u003cstrong>Shelf Life\u003c/strong> is a short documentary exploring one man’s passion for collecting. Since his youth, Raymond Bandar, a retired high school science teacher and long-time volunteer field associate for the California Academy of Sciences, has been collecting bones of all kinds. Today, “Bones” Bandar has more than 7,000 cataloged specimens tightly stored in his home — mostly skulls of marine mammals that he’s personally salvaged for both scientific data and personal pleasure. His wife of 50 years, artist Alkmene Bandar, has only one rule: no skulls in the bedroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 99,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1705052985,
"excerpt": "View Don Bernier's short film, \u003cstrong>Shelf Life\u003c/strong>, a short documentary exploring one man's passion for collecting skulls.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "View Don Bernier's short film, Shelf Life, a short documentary exploring one man's passion for collecting skulls.",
"title": "Shelf Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shelf Life",
"datePublished": "2008-09-22T16:22:15-07:00",
"dateModified": "2024-01-12T01:49:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "shelf_life",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/trulycashorts/",
"sticky": false,
"path": "/arts/23418/shelf_life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Shelf Life\u003c/strong> is a short documentary exploring one man’s passion for collecting. Since his youth, Raymond Bandar, a retired high school science teacher and long-time volunteer field associate for the California Academy of Sciences, has been collecting bones of all kinds. Today, “Bones” Bandar has more than 7,000 cataloged specimens tightly stored in his home — mostly skulls of marine mammals that he’s personally salvaged for both scientific data and personal pleasure. His wife of 50 years, artist Alkmene Bandar, has only one rule: no skulls in the bedroom.\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/23418/shelf_life",
"authors": [
"92"
],
"categories": [
"arts_74"
],
"tags": [
"arts_345"
],
"featImg": "arts_10023418",
"label": "arts"
},
"arts_23388": {
"type": "posts",
"id": "arts_23388",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23388",
"score": null,
"sort": [
1221779912000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1221779912,
"format": "standard",
"title": "Battle in Seattle",
"headTitle": "Battle in Seattle | KQED",
"content": "\u003cp>The days of civil rights sit-ins and anti-Vietnam marches are long gone, even our memories of ACT-UP or demonstrations against the Gulf Wars have gone a little blurry. Challenging the status quo through banner-waving and synchronized chanting has been replaced by all cap pronouncements on blogs and viral videos — forms of protest which may reach a global audience, but lose the sense of community and power that masses of actual human bodies provide.\u003c/p>\n\u003cp>It’s refreshing, then, and simultaneously troubling to see an account of a massive street protest in Stuart Townsend’s \u003cb>Battle in Seattle\u003c/b>. The story of the 40,000-person protests and riots that engulfed the 1999 meeting of the World Trade Organization (WTO) presents an almost nostalgic image: idealistic marchers braving tear gas and billy clubs to shut down the machinations of corporate greed and globalization.\u003c/p>\n\u003cp>The movie weaves together archival footage taken from the WTO protests with the fictional stories of four protestors, two riot cops, a newscaster and the mayor of Seattle. \u003cb>Battle in Seattle\u003c/b> creates a portrait of the city as it was during the talks — a violent and dramatic battleground between governments who support free trade and individuals who believe that global trade policies sacrifice human rights and environmental concerns to the bottom line.\u003c/p>\n\u003cp>An ensemble cast featuring Woody Harrelson, Charlize Theron, Michelle Rodriquez and Ray Liotta lends insight into the personal dramas underlaying one of recent history’s most important events. And, ultimately, \u003cb>Battle in Seattle\u003c/b> delivers an inspirational message: activism can succeed. The protestors who block off intersections and infiltrate WTO meetings break down talks meant to establish a new set of trade agreements for the 21st century.\u003c/p>\n\u003cp>\u003cb>Battle for Seattle\u003c/b> simultaneously presents the tragedy inherent to civil disobedience in the sacrifices the protestors must make to get their point across. Protestors at the WTO conference suffered through brutal and often unprovoked attacks by heavily-armed policemen and National Guardsmen. Over 600 protestors, many of whom had done nothing wrong, were arrested. And for what? For practicing their right to free speech? For standing up for the African children who couldn’t receive AIDS medication because of its prohibitive cost? For speaking on behalf of an endangered turtle whose habitat was being threatened by shipping lanes?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the protestors shut down the WTO in 1999, the organization met in Qatar two years later to hammer out almost the exact same policies. The fact that the movie \u003cb>Battle in Seattle\u003c/b> exists at all is proof that activism is a costly and losing fight: nine years removed from the WTO riots, the world needs a movie to remind it that the protests even happened. Moreover, the film is a sad reminder of the current state of our world, where terrorism is never far from the mind. Watching \u003cb>Battle in Seattle\u003c/b>, I couldn’t help but wonder when something was going to blow up, or envision the shifty-looking Doctors Without Borders representative as a secret agent sent to teach the world’s powers a lesson about getting involved in the affairs of others. As difficult as it is to admit, if some of the declarations made by activist characters in \u003cb>Battle in Seattle\u003c/b> were made today, by people with a different skin tone, Homeland Security would go into Orange Alert.\u003c/p>\n\u003cp>Ultimately, the average people who stand toe-to-toe against riot police, chanting peacefully and preparing to be attacked, get their voices heard. In that way, there is something beautiful about \u003cb>Battle in Seattle\u003c/b>. The movie reminds us that people can make a difference, that nonviolent protestors can make a stand for what they believe in, and can open the world’s eyes to the important and troubling decisions being made behind closed doors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Battle in Seattle\u003c/b> opens Friday, September 19, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 645,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052991,
"excerpt": "The story of the 40,000-person protests and riots that engulfed the 1999 meeting of the World Trade Organization (WTO) presents an almost nostalgic image: idealistic marchers braving tear gas and billy clubs to shut down the machinations of corporate greed and globalization. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The story of the 40,000-person protests and riots that engulfed the 1999 meeting of the World Trade Organization (WTO) presents an almost nostalgic image: idealistic marchers braving tear gas and billy clubs to shut down the machinations of corporate greed and globalization. ",
"title": "Battle in Seattle | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Battle in Seattle",
"datePublished": "2008-09-18T16:18:32-07:00",
"dateModified": "2024-01-12T01:49:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "battle_in_seattle",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"nprByline": "Jeffrey Gilliland",
"sticky": false,
"path": "/arts/23388/battle_in_seattle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The days of civil rights sit-ins and anti-Vietnam marches are long gone, even our memories of ACT-UP or demonstrations against the Gulf Wars have gone a little blurry. Challenging the status quo through banner-waving and synchronized chanting has been replaced by all cap pronouncements on blogs and viral videos — forms of protest which may reach a global audience, but lose the sense of community and power that masses of actual human bodies provide.\u003c/p>\n\u003cp>It’s refreshing, then, and simultaneously troubling to see an account of a massive street protest in Stuart Townsend’s \u003cb>Battle in Seattle\u003c/b>. The story of the 40,000-person protests and riots that engulfed the 1999 meeting of the World Trade Organization (WTO) presents an almost nostalgic image: idealistic marchers braving tear gas and billy clubs to shut down the machinations of corporate greed and globalization.\u003c/p>\n\u003cp>The movie weaves together archival footage taken from the WTO protests with the fictional stories of four protestors, two riot cops, a newscaster and the mayor of Seattle. \u003cb>Battle in Seattle\u003c/b> creates a portrait of the city as it was during the talks — a violent and dramatic battleground between governments who support free trade and individuals who believe that global trade policies sacrifice human rights and environmental concerns to the bottom line.\u003c/p>\n\u003cp>An ensemble cast featuring Woody Harrelson, Charlize Theron, Michelle Rodriquez and Ray Liotta lends insight into the personal dramas underlaying one of recent history’s most important events. And, ultimately, \u003cb>Battle in Seattle\u003c/b> delivers an inspirational message: activism can succeed. The protestors who block off intersections and infiltrate WTO meetings break down talks meant to establish a new set of trade agreements for the 21st century.\u003c/p>\n\u003cp>\u003cb>Battle for Seattle\u003c/b> simultaneously presents the tragedy inherent to civil disobedience in the sacrifices the protestors must make to get their point across. Protestors at the WTO conference suffered through brutal and often unprovoked attacks by heavily-armed policemen and National Guardsmen. Over 600 protestors, many of whom had done nothing wrong, were arrested. And for what? For practicing their right to free speech? For standing up for the African children who couldn’t receive AIDS medication because of its prohibitive cost? For speaking on behalf of an endangered turtle whose habitat was being threatened by shipping lanes?\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>Though the protestors shut down the WTO in 1999, the organization met in Qatar two years later to hammer out almost the exact same policies. The fact that the movie \u003cb>Battle in Seattle\u003c/b> exists at all is proof that activism is a costly and losing fight: nine years removed from the WTO riots, the world needs a movie to remind it that the protests even happened. Moreover, the film is a sad reminder of the current state of our world, where terrorism is never far from the mind. Watching \u003cb>Battle in Seattle\u003c/b>, I couldn’t help but wonder when something was going to blow up, or envision the shifty-looking Doctors Without Borders representative as a secret agent sent to teach the world’s powers a lesson about getting involved in the affairs of others. As difficult as it is to admit, if some of the declarations made by activist characters in \u003cb>Battle in Seattle\u003c/b> were made today, by people with a different skin tone, Homeland Security would go into Orange Alert.\u003c/p>\n\u003cp>Ultimately, the average people who stand toe-to-toe against riot police, chanting peacefully and preparing to be attacked, get their voices heard. In that way, there is something beautiful about \u003cb>Battle in Seattle\u003c/b>. The movie reminds us that people can make a difference, that nonviolent protestors can make a stand for what they believe in, and can open the world’s eyes to the important and troubling decisions being made behind closed doors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Battle in Seattle\u003c/b> opens Friday, September 19, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23388/battle_in_seattle",
"authors": [
"byline_arts_23388"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023388",
"label": "arts"
},
"arts_23384": {
"type": "posts",
"id": "arts_23384",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23384",
"score": null,
"sort": [
1221696496000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1221696496,
"format": "standard",
"title": "Forbidden Lie$",
"headTitle": "Forbidden Lie$ | KQED",
"content": "\u003cp>Smart, cunning and more than a little devious, Australian filmmaker Anna Broinowski has provided a welcome reminder that every story is constructed, even those that purport to be distanced and (dare I say it) objective. Her splendid documentary, \u003cb>Forbidden Lie$\u003c/b>, is the antithesis of a straightforward, just-the-facts-ma’am saga. It is, instead, a witty transformation of her toe-to-toe face-off with discredited author Norma Khouri (\u003cb>Forbidden Love\u003c/b>) into an elliptical, entertaining exploration of the flexibility and fungibility of the truth.\u003c/p>\n\u003cp>\u003cb>Forbidden Lie$\u003c/b> is the unusual documentary that constantly shifts tones and genres, gliding from investigative journalism to empathetic character study to grimy tabloid trash to grown-up Nancy Drew travelogue. This is, first and foremost, a brilliant strategy for reflecting and keeping up with a master dissembler who herself changes costumes and personae with the panache of a Broadway actress. But it also provides a nifty means of calling into question the nature and ethics of documentary filmmaking, and our often-unblinking acceptance of the form.\u003c/p>\n\u003cp>Most people, frankly, will be drawn to \u003cb>Forbidden Lie$\u003c/b> for the built-in drama and train-wreck sensationalism of its subject matter. In 2001, Random House published the memoir of a Jordanian Catholic expatriate named Norma Khouri that described the horrific death of her Muslim best friend on the outskirts of Amman. Dalia had fallen in love with a Christian, and her brothers and father murdered her when they found out. This kind of “honor killing,” Khouri wrote, was pervasive in Jordan.\u003c/p>\n\u003cp>In the wake of 9/11, with people in the West suddenly eager to learn about the human face of Islam, the book became a minor sensation. It was translated into numerous languages, sold hundreds of thousands of copies and propelled Khouri onto bestseller lists and TV shows. But in 2004, an Australian journalist dug up the revelation that Khouri was not a brave, charming virgin (as she claimed) but a married mother of two whom the Chicago FBI was investigating on fraud charges.\u003c/p>\n\u003cp>The question of Khouri’s honesty and the veracity of her account is always front and center in \u003cb>Forbidden Lie$\u003c/b>, inevitably turning us into active viewers. It’s no wonder that this was one of the most talked-about movies at this year’s San Francisco International Film Festival, for we eagerly adopt the role of judge and jury, weighing every new bit of testimony (and the trustworthiness of the source). A few examples from a lengthy list: a retired Manhattan detective hooks Khouri up to a lie-detector machine with mixed results, a veteran Jordanian activist recites a long and amusing litany of factual errors and time-line goofs in the book, a next-door neighbor describes her unreimbursed costs for caring for Khouri’s children after the writer fled Australia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Khouri’s ever-shifting side of the story adds up to one main argument: “I may have changed a detail here or there, but the big picture remains the same. Honor killings occur by the boatload in Jordan, and the laws and traditions need to be changed.” Do Khouri’s ends justify her means? Conversely, is a larger crime being ignored by journalists and filmmakers too busy seeking the truth about her personal story? The film is quite content to toss those questions in the audience’s lap, and continue merrily chugging along.\u003c/p>\n\u003cp>Moviegoers who enjoy grappling with issues such as the filmmaker’s responsibility to his or her audience, or the idea that every documentary is a work of construction (as opposed to an undeniable truth handed down from above), will derive even more pleasure from \u003cb>Forbidden Lie$\u003c/b>. Broinowski tosses in sound effects to remind us that we’re watching a film (a representation of reality, that is, not reality itself), and shows us the set where she interviews Khouri.\u003c/p>\n\u003cp>Is the filmmaker being exceptionally honest, or just coy? Are we closer to the truth — that elusive Holy Grail — than when we started? Or have we been conned by Anna Broinowski, not unlike the way Norma Khouri (may have) conned Random House and a multitude of readers? The filmmaker, rather bravely, is quite content to send us home with a fresh-baked batch of unanswered questions to chew on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Forbidden Lie$\u003c/b> opens September 19, 2008 at the Roxie Theater in San Francisco. For more information, visit \u003ca href=\"http://www.roxie.com\" target=\"offsite\" rel=\"noopener\">roxie.com\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 746,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052992,
"excerpt": "Smart, cunning and more than a little devious, Australian filmmaker Anna Broinowski has provided a welcome reminder that every story is constructed, even those that purport to be distanced and (dare I say it) objective.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Smart, cunning and more than a little devious, Australian filmmaker Anna Broinowski has provided a welcome reminder that every story is constructed, even those that purport to be distanced and (dare I say it) objective.",
"title": "Forbidden Lie$ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Forbidden Lie$",
"datePublished": "2008-09-17T17:08:16-07:00",
"dateModified": "2024-01-12T01:49:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "forbidden_lie",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23384/forbidden_lie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Smart, cunning and more than a little devious, Australian filmmaker Anna Broinowski has provided a welcome reminder that every story is constructed, even those that purport to be distanced and (dare I say it) objective. Her splendid documentary, \u003cb>Forbidden Lie$\u003c/b>, is the antithesis of a straightforward, just-the-facts-ma’am saga. It is, instead, a witty transformation of her toe-to-toe face-off with discredited author Norma Khouri (\u003cb>Forbidden Love\u003c/b>) into an elliptical, entertaining exploration of the flexibility and fungibility of the truth.\u003c/p>\n\u003cp>\u003cb>Forbidden Lie$\u003c/b> is the unusual documentary that constantly shifts tones and genres, gliding from investigative journalism to empathetic character study to grimy tabloid trash to grown-up Nancy Drew travelogue. This is, first and foremost, a brilliant strategy for reflecting and keeping up with a master dissembler who herself changes costumes and personae with the panache of a Broadway actress. But it also provides a nifty means of calling into question the nature and ethics of documentary filmmaking, and our often-unblinking acceptance of the form.\u003c/p>\n\u003cp>Most people, frankly, will be drawn to \u003cb>Forbidden Lie$\u003c/b> for the built-in drama and train-wreck sensationalism of its subject matter. In 2001, Random House published the memoir of a Jordanian Catholic expatriate named Norma Khouri that described the horrific death of her Muslim best friend on the outskirts of Amman. Dalia had fallen in love with a Christian, and her brothers and father murdered her when they found out. This kind of “honor killing,” Khouri wrote, was pervasive in Jordan.\u003c/p>\n\u003cp>In the wake of 9/11, with people in the West suddenly eager to learn about the human face of Islam, the book became a minor sensation. It was translated into numerous languages, sold hundreds of thousands of copies and propelled Khouri onto bestseller lists and TV shows. But in 2004, an Australian journalist dug up the revelation that Khouri was not a brave, charming virgin (as she claimed) but a married mother of two whom the Chicago FBI was investigating on fraud charges.\u003c/p>\n\u003cp>The question of Khouri’s honesty and the veracity of her account is always front and center in \u003cb>Forbidden Lie$\u003c/b>, inevitably turning us into active viewers. It’s no wonder that this was one of the most talked-about movies at this year’s San Francisco International Film Festival, for we eagerly adopt the role of judge and jury, weighing every new bit of testimony (and the trustworthiness of the source). A few examples from a lengthy list: a retired Manhattan detective hooks Khouri up to a lie-detector machine with mixed results, a veteran Jordanian activist recites a long and amusing litany of factual errors and time-line goofs in the book, a next-door neighbor describes her unreimbursed costs for caring for Khouri’s children after the writer fled Australia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Khouri’s ever-shifting side of the story adds up to one main argument: “I may have changed a detail here or there, but the big picture remains the same. Honor killings occur by the boatload in Jordan, and the laws and traditions need to be changed.” Do Khouri’s ends justify her means? Conversely, is a larger crime being ignored by journalists and filmmakers too busy seeking the truth about her personal story? The film is quite content to toss those questions in the audience’s lap, and continue merrily chugging along.\u003c/p>\n\u003cp>Moviegoers who enjoy grappling with issues such as the filmmaker’s responsibility to his or her audience, or the idea that every documentary is a work of construction (as opposed to an undeniable truth handed down from above), will derive even more pleasure from \u003cb>Forbidden Lie$\u003c/b>. Broinowski tosses in sound effects to remind us that we’re watching a film (a representation of reality, that is, not reality itself), and shows us the set where she interviews Khouri.\u003c/p>\n\u003cp>Is the filmmaker being exceptionally honest, or just coy? Are we closer to the truth — that elusive Holy Grail — than when we started? Or have we been conned by Anna Broinowski, not unlike the way Norma Khouri (may have) conned Random House and a multitude of readers? The filmmaker, rather bravely, is quite content to send us home with a fresh-baked batch of unanswered questions to chew on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Forbidden Lie$\u003c/b> opens September 19, 2008 at the Roxie Theater in San Francisco. For more information, visit \u003ca href=\"http://www.roxie.com\" target=\"offsite\" rel=\"noopener\">roxie.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23384/forbidden_lie",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023384",
"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": 3036,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_23633",
"arts_23621",
"arts_23620",
"arts_23586",
"arts_23538",
"arts_23499",
"arts_23496",
"arts_23435",
"arts_23421",
"arts_23418",
"arts_23388",
"arts_23384"
],
"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_991": {
"type": "terms",
"id": "arts_991",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "991",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Essay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Essay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1009,
"slug": "essay",
"isLoading": false,
"link": "/arts/tag/essay"
},
"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_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
}
}
