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_13824231": {
"type": "attachments",
"id": "arts_13824231",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13824231",
"found": true
},
"parent": 13824229,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-520x355.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 355
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-960x656.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 656
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-375x256.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 256
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb.jpg",
"width": 2048,
"height": 1399
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-1020x697.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 697
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-1180x806.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 806
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-800x546.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 546
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-1920x1311.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1311
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-1180x806.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 806
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-1920x1311.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1311
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-768x525.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 525
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-917394792_custom-03c5f91f83de84d63f429e7dc4f919dbd15396eb-240x164.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 164
}
},
"publishDate": 1518456601,
"modified": 1518457133,
"caption": "Former U.S. President Barack Obama and former first lady Michelle Obama stand next to their newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery.",
"description": "Former U.S. President Barack Obama and former first lady Michelle Obama stand next to their newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery.",
"title": "Former U.S. President Barack Obama and former first lady Michelle Obama stand next to their newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery.",
"credit": "Mark Wilson/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13824076": {
"type": "attachments",
"id": "arts_13824076",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13824076",
"found": true
},
"parent": 13824061,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29326_SweetLand-Press-02-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1518138808,
"modified": 1518144452,
"caption": "In Oh My Sweet Land, Nora El Samahy plays a Syrian-German woman who relates the story of her affair with a Syrian refugee while she cooks kibbeh. The play is touring San Francisco Bay Area kitchens, restaurants and community spaces.",
"description": "In Oh My Sweet Land, Nora El Samahy plays a Syrian-German woman who relates the story of her affair with a Syrian refugee while she cooks kibbeh. The play is touring San Francisco Bay Area kitchens, restaurants and community spaces.",
"title": "RS29326_SweetLand-Press-02-qut",
"credit": "Photo: Courtesy of David Allen Studio",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13824130": {
"type": "attachments",
"id": "arts_13824130",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13824130",
"found": true
},
"parent": 13824126,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/RS29345_pARTake-55-1-2-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1518232436,
"modified": 1518232466,
"caption": "A visitor to Morgan Brown's \"phone booth\" has a private, one-way conversation with somebody gone from her life.",
"description": "A visitor to Morgan Brown's \"phone booth\" has a private, one-way conversation with somebody gone from her life.",
"title": "RS29345_pARTake-55 (1) 2-qut",
"credit": "Photo: Courtesy of The Lab",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13824094": {
"type": "attachments",
"id": "arts_13824094",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13824094",
"found": true
},
"parent": 13824093,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-520x334.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 334
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-160x103.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 103
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-960x616.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 616
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-375x241.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 241
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430.jpg",
"width": 1266,
"height": 813
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-1020x655.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 655
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-1180x758.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 758
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-800x514.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 514
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-1180x758.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 758
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-768x493.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 493
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-75768161_sq-8c68c0c0922e34b0377518732c46fd9a5f8e6a04-e1518204005430-240x154.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 154
}
},
"publishDate": 1518203398,
"modified": 1518203972,
"caption": "Jill Messick, at the premiere of 'Hot Rod' in Los Angeles in 2007, \"was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,\" her family said.",
"description": "Jill Messick, at the premiere of 'Hot Rod' in Los Angeles in 2007, \"was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,\" her family said.",
"title": "Jill Messick, at the premiere of Hot Rod in Los Angeles in 2007, \"was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,\" her family said.",
"credit": "Kevin Winter/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13824060": {
"type": "attachments",
"id": "arts_13824060",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13824060",
"found": true
},
"parent": 13824047,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Huey-LewisNews-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1518132277,
"modified": 1518132342,
"caption": "Huey Lewis and the News perform onstage at the Mitsubishi Motors ArenaBowl Extravaganza during ArenaBowl XXII weekend on July 26, 2008 in New Orleans, Louisiana. ",
"description": "Huey Lewis and the News perform onstage at the Mitsubishi Motors ArenaBowl Extravaganza during ArenaBowl XXII weekend on July 26, 2008 in New Orleans, Louisiana. ",
"title": "ArenaBowl Extravaganza Huey Lewis & the News",
"credit": "Doug Benc/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13824006": {
"type": "attachments",
"id": "arts_13824006",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13824006",
"found": true
},
"parent": 13824005,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-909x576.jpg",
"width": 909,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24.jpg",
"width": 909,
"height": 605
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1518109116,
"modified": 1518109247,
"caption": "John Prine's first album of new songs in 13 years, 'The Tree of Forgiveness,' will be out April 13",
"description": "John Prine's first album of new songs in 13 years, 'The Tree of Forgiveness,' will be out April 13",
"title": "John Prine's first album of new songs in 13 years, The Tree of Forgiveness, will be out April 13",
"credit": "Danny Clinch/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823972": {
"type": "attachments",
"id": "arts_13823972",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823972",
"found": true
},
"parent": 13823971,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-163492118-0aa79442b65f9605d849cbc54dc80ed82d5ed2fb-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1518058625,
"modified": 1518058879,
"caption": "John Perry Barlow, co-founderof the Electronic Frontier Foundation at the 2013 SXSW Festival at Austin, Texas.",
"description": "John Perry Barlow, co-founderof the Electronic Frontier Foundation at the 2013 SXSW Festival at Austin, Texas.",
"title": "John Perry Barlow, co-founderof the Electronic Frontier Foundation at the 2013 SXSW Festival at Austin, Texas.",
"credit": "esse Knish/Getty Images for SXSW",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11463953": {
"type": "attachments",
"id": "arts_11463953",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11463953",
"found": true
},
"parent": 11462114,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Armory.MikeHofmann.WikiCC-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459784580,
"modified": 1518037133,
"caption": "The San Francisco Armory in 2008, shortly after being acquired by Kink.com.",
"description": "The San Francisco Armory in 2008, shortly after being acquired by Kink.com.",
"title": "Armory.MikeHofmann.WikiCC",
"credit": "Mike Hofmann",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823919": {
"type": "attachments",
"id": "arts_13823919",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823919",
"found": true
},
"parent": 13823908,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961.jpg",
"width": 2032,
"height": 1146
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Widowers-Houses-2-e1518046618961-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1518046350,
"modified": 1518046584,
"caption": "Megan Trout, Dan Hoyle, Michael Gene Sullivan, and Warren David Keith star in George Bernard Shaw's 'Widowers' Houses'",
"description": "Megan Trout, Dan Hoyle, Michael Gene Sullivan, and Warren David Keith star in George Bernard Shaw's 'Widowers' Houses'",
"title": "Megan Trout, Dan Hoyle, Michael Gene Sullivan, and Warren David Keith star in George Bernard Shaw's 'Widowers' Houses'",
"credit": "Photo: Courtesy of Aurora Theatre",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823843": {
"type": "attachments",
"id": "arts_13823843",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823843",
"found": true
},
"parent": 13823842,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-907x576.jpg",
"width": 907,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409.jpg",
"width": 907,
"height": 680
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-911560744-7cd76fc82222961486a189afe3b827be5bf07409-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1517976193,
"modified": 1517979705,
"caption": "Recording Academy and MusiCares president and CEO Neil Portnow, onstage during the Grammy Awards at Madison Square Garden on Jan. 28 in New York City",
"description": "Recording Academy and MusiCares president and CEO Neil Portnow, onstage during the Grammy Awards at Madison Square Garden on Jan. 28 in New York City",
"title": "Recording Academy and MusiCares president and CEO Neil Portnow, onstage during the Grammy Awards at Madison Square Garden on Jan. 28 in New York City.",
"credit": "Michael Kovac/Getty Images for NARAS",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823850": {
"type": "attachments",
"id": "arts_13823850",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823850",
"found": true
},
"parent": 13823849,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-493619615_wide-a1a49d054d7efdc8cab7278e86677b5d0f4de2b3-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1517980226,
"modified": 1517982298,
"caption": "Director Quentin Tarantino and actress Uma Thurman pose at the Cannes Film Festival in 2014. He acknowledges convincing her to do a dangerous driving scene which ended in a crash.",
"description": "Director Quentin Tarantino and actress Uma Thurman pose at the Cannes Film Festival in 2014. He acknowledges convincing her to do a dangerous driving scene which ended in a crash.",
"title": "Director Quentin Tarantino and actress Uma Thurman pose at the Cannes Film Festival in 2014. He acknowledges convincing her to do a dangerous driving scene which ended in a crash.",
"credit": "Bertrand Langlois/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823841": {
"type": "attachments",
"id": "arts_13823841",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823841",
"found": true
},
"parent": 13823810,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/Best-Buy-customers-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1517975286,
"modified": 1517975409,
"caption": "Customers pass underneath a Best Buy sign ",
"description": "Customers pass underneath a Best Buy sign ",
"title": "Best Buy customers",
"credit": "Joe Raedle/Getty Images",
"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_13824229": {
"type": "authors",
"id": "byline_arts_13824229",
"meta": {
"override": true
},
"slug": "byline_arts_13824229",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_13824093": {
"type": "authors",
"id": "byline_arts_13824093",
"meta": {
"override": true
},
"slug": "byline_arts_13824093",
"name": "Scott Neuman",
"isLoading": false
},
"byline_arts_13824005": {
"type": "authors",
"id": "byline_arts_13824005",
"meta": {
"override": true
},
"slug": "byline_arts_13824005",
"name": "Jacob Ganz",
"isLoading": false
},
"byline_arts_13823971": {
"type": "authors",
"id": "byline_arts_13823971",
"meta": {
"override": true
},
"slug": "byline_arts_13823971",
"name": "Richard Gonzales",
"isLoading": false
},
"byline_arts_13823842": {
"type": "authors",
"id": "byline_arts_13823842",
"meta": {
"override": true
},
"slug": "byline_arts_13823842",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13823849": {
"type": "authors",
"id": "byline_arts_13823849",
"meta": {
"override": true
},
"slug": "byline_arts_13823849",
"name": "Richard Gonzales",
"isLoading": false
},
"byline_arts_13823810": {
"type": "authors",
"id": "byline_arts_13823810",
"meta": {
"override": true
},
"slug": "byline_arts_13823810",
"name": "Emily Sullivan",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.816202
},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"title": "News",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 152
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 152
}
},
{
"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_13824229": {
"type": "posts",
"id": "arts_13824229",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13824229",
"score": null,
"sort": [
1518457142000
]
},
"guestAuthors": [],
"slug": "paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery",
"title": "Paintings of Barack and Michelle Obama Unveiled at Portrait Gallery",
"publishDate": 1518457142,
"format": "standard",
"headTitle": "Paintings of Barack and Michelle Obama Unveiled at Portrait Gallery | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.\u003c/p>\n\u003cp>“Pretty sharp,” Obama said with a grin.\u003c/p>\n\u003cp>Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.\u003c/p>\n\u003cp>The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrities from Shonda Rimes to Steven Spielberg, former administration officials from Josh Earnest to Eric Holder, and members of the media filed into the Portrait Gallery’s expansive, glass-covered central courtyard for the ceremony. Kim Sajet, the director of the gallery, told the audience that a portrait was not truly finished until a viewer, a member of the public, had a personal encounter with it.\u003c/p>\n\u003cp>Then came the unveiling — quite literally, as fabric covers were pulled off the portraits on a small stage.\u003c/p>\n\u003cfigure id=\"attachment_13824232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg\" alt=\"Former U.S. President Barack Obama looks at former first lady Michelle Obama's newly unveiled portrait during a ceremony at the Smithsonian's National Portrait Gallery.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13824232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1920x1481.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1180x910.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-520x401.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former U.S. President Barack Obama looks at former first lady Michelle Obama’s newly unveiled portrait during a ceremony at the Smithsonian’s National Portrait Gallery. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings exemplify the two artists’ trademark styles.\u003c/p>\n\u003cp>“Wiley typically portrays people of color posing as famous figures in Western art,” the Portrait Gallery writes. “Through this practice, he challenges the visual rhetoric of power that is dominated by elite white men.”\u003c/p>\n\u003cp>Sherald, “known for her stylized, archetypal portrayals of African Americans,” survived a heart transplant in 2012, the museum notes. “A personification of resilience herself, Sherald conveys the inner strength of her subjects through a combination of calm expressions and confrontational poses,” the gallery writes.\u003c/p>\n\u003cp>“I am a little overwhelmed, to say the least,” Michelle Obama said in a speech, after helping Sherald reveal her work. “As you may have guessed, I don’t think there is anybody in my family who has ever had a portrait done, let alone a portrait that will be hanging in the National Gallery — at least as far as I know, Mom,” she said. “But all those folks who helped me be here today, they are with us physically and they are with us in spirit.”\u003c/p>\n\u003cp>“I’m also thinking of all the young people, particularly girls and girls of color, who … will see an image of someone who looks like them hanging on the wall of this great American institution,” she said. “I know the kind of impact that will have on their lives, because I was one of those girls.”\u003c/p>\n\u003cp>It was a point Sherald echoed minutes later, when she emphasized that her portrait of Obama was conceptual and archetypal, bigger than just one model.\u003c/p>\n\u003cp>“You exist in our minds and our hearts in the way that we do because we can see ourselves in you,” she said, turning toward Michelle Obama.\u003c/p>\n\u003cp>Barack Obama, for his part, said he admired how Wiley’s photos “challenge our conventional views of power and privilege.”\u003c/p>\n\u003cp>But he said he rejected Wiley’s ideas that involved him, for instance, riding a horse.\u003c/p>\n\u003cp>“‘I’ve got enough political problems without you making me look like Napoleon,'” he remembered telling Wiley. “‘You’ve got to bring it down a touch.’ And that’s what he did.”\u003c/p>\n\u003cp>“How do you explain that a lot of that is just simply not true?” Wiley said, when he took to the lectern. Then he got more serious.\u003c/p>\n\u003cfigure id=\"attachment_13824230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg\" alt=\"Former President Barack Obama stands with his and former first lady Michelle Obama's newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery in Washington, D.C.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13824230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama stands with his and former first lady Michelle Obama’s newly unveiled portraits during a ceremony at the Smithsonian’s National Portrait Gallery in Washington, D.C. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming,” Wiley said. “It doesn’t get any better than that. I was humbled by this invitation but I was also inspired by Barack Obama’s personal story.”\u003c/p>\n\u003cp>The National Portrait Gallery, a member of the Smithsonian Institution, has worked with outgoing presidents to commission a new portrait of each one since 1962.\u003c/p>\n\u003cp>More recently it began collecting portraits of first ladies as well. The Portrait Gallery, a member of the Smithsonian Institution, \u003ca href=\"http://npg.si.edu/blog/people-presidential-portraits-national-portrait-gallery\" target->writes\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Official portraits are interesting beasts because they are, of course official: they signify the status and attainments of the person portrayed. But they also are deeply personal, even revelatory, portrayals that say something of the character of the man or woman who shows their face to the public. The style of the portrait – the pose, the colors, the setting, as well as facial features (in the 19th century stern and forbidding was definitely the default expression) – all convey a measure of the sitter.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The official National Portrait Gallery \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/\" target->paintings\u003c/a> of George and Laura Bush both featured relatively casual, relaxed poses, with small smiles.\u003c/p>\n\u003cp>The gallery’s portrait of Bill Clinton, by Nelson Shanks, was controversial after Shanks \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/03/the-subtle-satire-of-a-bill-clinton-portrait/386558/\">said\u003c/a> he’d hidden a reference to the Monica Lewinsky scandal in the canvas. A different portrait of Clinton, a Chuck Close \u003ca href=\"http://npg.si.edu/blog/now-on-view-bill-clinton-chuck-close\">painting\u003c/a> of the former president’s grin, is on display in the museum.\u003c/p>\n\u003cp>The new paintings of the Obamas will be on view to the public beginning Tuesday.\u003c/p>\n\u003cp>Wiley’s painting of former President Obama will be permanently installed in the “America’s Presidents” exhibit (The Portrait Gallery has the “only complete collection of presidential portraits outside the White House,” the museum said in a statement.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sherald’s painting of Michelle Obama will be on display through November in the museum’s “Recent Acquisitions” section. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Paintings+Of+Barack+And+Michelle+Obama+Unveiled+At+Portrait+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The former president and first lady chose artists Kehinde Wiley and Amy Sherald — the first African-American artists to receive such a commission — to paint them for the museum's collection.",
"status": "publish",
"parent": 0,
"modified": 1726781884,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 1073
},
"headData": {
"title": "Paintings of Barack and Michelle Obama Unveiled at Portrait Gallery | KQED",
"description": "The former president and first lady chose artists Kehinde Wiley and Amy Sherald — the first African-American artists to receive such a commission — to paint them for the museum's collection.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Paintings of Barack and Michelle Obama Unveiled at Portrait Gallery",
"datePublished": "2018-02-12T09:39:02-08:00",
"dateModified": "2024-09-19T14:38:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Mark Wilson",
"nprByline": "Camila Domonoske",
"nprImageAgency": "Getty Images",
"nprStoryId": "585066637",
"nprApiLink": "http://api.npr.org/query?id=585066637&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery?ft=nprml&f=585066637",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 12 Feb 2018 12:25:00 -0500",
"nprStoryDate": "Mon, 12 Feb 2018 09:23:00 -0500",
"nprLastModifiedDate": "Mon, 12 Feb 2018 12:25:22 -0500",
"path": "/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.\u003c/p>\n\u003cp>“Pretty sharp,” Obama said with a grin.\u003c/p>\n\u003cp>Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.\u003c/p>\n\u003cp>The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum.\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>Celebrities from Shonda Rimes to Steven Spielberg, former administration officials from Josh Earnest to Eric Holder, and members of the media filed into the Portrait Gallery’s expansive, glass-covered central courtyard for the ceremony. Kim Sajet, the director of the gallery, told the audience that a portrait was not truly finished until a viewer, a member of the public, had a personal encounter with it.\u003c/p>\n\u003cp>Then came the unveiling — quite literally, as fabric covers were pulled off the portraits on a small stage.\u003c/p>\n\u003cfigure id=\"attachment_13824232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg\" alt=\"Former U.S. President Barack Obama looks at former first lady Michelle Obama's newly unveiled portrait during a ceremony at the Smithsonian's National Portrait Gallery.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13824232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1920x1481.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1180x910.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-520x401.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former U.S. President Barack Obama looks at former first lady Michelle Obama’s newly unveiled portrait during a ceremony at the Smithsonian’s National Portrait Gallery. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings exemplify the two artists’ trademark styles.\u003c/p>\n\u003cp>“Wiley typically portrays people of color posing as famous figures in Western art,” the Portrait Gallery writes. “Through this practice, he challenges the visual rhetoric of power that is dominated by elite white men.”\u003c/p>\n\u003cp>Sherald, “known for her stylized, archetypal portrayals of African Americans,” survived a heart transplant in 2012, the museum notes. “A personification of resilience herself, Sherald conveys the inner strength of her subjects through a combination of calm expressions and confrontational poses,” the gallery writes.\u003c/p>\n\u003cp>“I am a little overwhelmed, to say the least,” Michelle Obama said in a speech, after helping Sherald reveal her work. “As you may have guessed, I don’t think there is anybody in my family who has ever had a portrait done, let alone a portrait that will be hanging in the National Gallery — at least as far as I know, Mom,” she said. “But all those folks who helped me be here today, they are with us physically and they are with us in spirit.”\u003c/p>\n\u003cp>“I’m also thinking of all the young people, particularly girls and girls of color, who … will see an image of someone who looks like them hanging on the wall of this great American institution,” she said. “I know the kind of impact that will have on their lives, because I was one of those girls.”\u003c/p>\n\u003cp>It was a point Sherald echoed minutes later, when she emphasized that her portrait of Obama was conceptual and archetypal, bigger than just one model.\u003c/p>\n\u003cp>“You exist in our minds and our hearts in the way that we do because we can see ourselves in you,” she said, turning toward Michelle Obama.\u003c/p>\n\u003cp>Barack Obama, for his part, said he admired how Wiley’s photos “challenge our conventional views of power and privilege.”\u003c/p>\n\u003cp>But he said he rejected Wiley’s ideas that involved him, for instance, riding a horse.\u003c/p>\n\u003cp>“‘I’ve got enough political problems without you making me look like Napoleon,'” he remembered telling Wiley. “‘You’ve got to bring it down a touch.’ And that’s what he did.”\u003c/p>\n\u003cp>“How do you explain that a lot of that is just simply not true?” Wiley said, when he took to the lectern. Then he got more serious.\u003c/p>\n\u003cfigure id=\"attachment_13824230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg\" alt=\"Former President Barack Obama stands with his and former first lady Michelle Obama's newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery in Washington, D.C.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13824230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama stands with his and former first lady Michelle Obama’s newly unveiled portraits during a ceremony at the Smithsonian’s National Portrait Gallery in Washington, D.C. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming,” Wiley said. “It doesn’t get any better than that. I was humbled by this invitation but I was also inspired by Barack Obama’s personal story.”\u003c/p>\n\u003cp>The National Portrait Gallery, a member of the Smithsonian Institution, has worked with outgoing presidents to commission a new portrait of each one since 1962.\u003c/p>\n\u003cp>More recently it began collecting portraits of first ladies as well. The Portrait Gallery, a member of the Smithsonian Institution, \u003ca href=\"http://npg.si.edu/blog/people-presidential-portraits-national-portrait-gallery\" target->writes\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Official portraits are interesting beasts because they are, of course official: they signify the status and attainments of the person portrayed. But they also are deeply personal, even revelatory, portrayals that say something of the character of the man or woman who shows their face to the public. The style of the portrait – the pose, the colors, the setting, as well as facial features (in the 19th century stern and forbidding was definitely the default expression) – all convey a measure of the sitter.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The official National Portrait Gallery \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/\" target->paintings\u003c/a> of George and Laura Bush both featured relatively casual, relaxed poses, with small smiles.\u003c/p>\n\u003cp>The gallery’s portrait of Bill Clinton, by Nelson Shanks, was controversial after Shanks \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/03/the-subtle-satire-of-a-bill-clinton-portrait/386558/\">said\u003c/a> he’d hidden a reference to the Monica Lewinsky scandal in the canvas. A different portrait of Clinton, a Chuck Close \u003ca href=\"http://npg.si.edu/blog/now-on-view-bill-clinton-chuck-close\">painting\u003c/a> of the former president’s grin, is on display in the museum.\u003c/p>\n\u003cp>The new paintings of the Obamas will be on view to the public beginning Tuesday.\u003c/p>\n\u003cp>Wiley’s painting of former President Obama will be permanently installed in the “America’s Presidents” exhibit (The Portrait Gallery has the “only complete collection of presidential portraits outside the White House,” the museum said in a statement.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sherald’s painting of Michelle Obama will be on display through November in the museum’s “Recent Acquisitions” section. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Paintings+Of+Barack+And+Michelle+Obama+Unveiled+At+Portrait+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery",
"authors": [
"byline_arts_13824229"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_3675",
"arts_596",
"arts_5826"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13824231",
"label": "arts_137"
},
"arts_13824061": {
"type": "posts",
"id": "arts_13824061",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13824061",
"score": null,
"sort": [
1518444038000
]
},
"guestAuthors": [],
"slug": "oh-my-sweet-land-stirs-up-compassion-for-syrian-refugees",
"title": "'Oh My Sweet Land' Stirs Up Compassion For Syrian Refugees",
"publishDate": 1518444038,
"format": "audio",
"headTitle": "‘Oh My Sweet Land’ Stirs Up Compassion For Syrian Refugees | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Trump Administration \u003ca href=\"https://www.dhs.gov/news/2018/01/31/secretary-homeland-security-kirstjen-m-nielsen-announcement-temporary-protected\" target=\"_blank\" rel=\"noopener\">recently granted\u003c/a> nearly 7,000 Syrians temporary permission to stay in the US for at least another 18 months. The civil war in Syria still rages, though you might not know it, given its absence from our news headlines here. How to stir up interest and compassion in the West? One San Francisco Bay Area theater company has an idea that involves two onions, a quarter cup of pine nuts and one pound of beef.\u003c/p>\n\u003cp>Like the Syrian refugees, \u003cem>\u003ca href=\"http://www.goldenthread.org/2017-season/oh-my-sweet-land/\" target=\"_blank\" rel=\"noopener\">Oh My Sweet Land\u003c/a> \u003c/em>has no fixed address. The one-woman show, written by Palestinian playwright Amir Nizar Zuabi, plays in kitchens, restaurants and community spaces, put on by \u003ca href=\"http://www.goldenthread.org/about/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a theatre company that focuses on Middle Eastern stories.\u003c/p>\n\u003cp>So it was that a few months ago, during the first run of the play in the Bay Area, two dozen people sat down in fold out chairs in the breakfast nook of a private home in Palo Alto home. Two feet away, on the other side of the kitchen counter, actress Nora el Samahy, began to cook \u003ci>kibbeh: \u003c/i>fried bulgur wheat balls filled with meat and spices. (Recipes vary regionally, but they’re popular throughout the Middle East.)\u003c/p>\n\u003cp>“In the recipes, they say, take an onion. What kind of an onion? Big? Small? An onion is not a unit of measurement. It’s just like saying take a man. But which man?”\u003c/p>\n\u003cp>Right away, we’re transported like Proust to intensely personal memories of watching someone else prepare dinner as we chat in the kitchen.\u003c/p>\n\u003cfigure id=\"attachment_13824084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-800x533.jpg\" alt=\"Depending on where you hail from, you spell it kibbeh, kibbe, kebbah, kubbeh, kubbah, keufteh, koupa, köfte or kubbi. Depending on where you hail from, the stuffing is finely ground lean beef, lamb, goat, or camel meat.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Depending on where you hail from, you spell it kibbeh, kibbe, kebbah, kubbeh, kubbah, keufteh, koupa, köfte or kubbi. Depending on where you hail from, the stuffing is finely ground lean beef, lamb, goat, or camel meat. \u003ccite>(Photo: Courtesy of David Allen Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>El Samahy plays a Syrian-German woman who relates the story of her affair with a Syrian refugee. The character never gives \u003ci>her\u003c/i> name, but we learn a lot about kibbeh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Wheat, meat, heat: Syria!” she declares.\u003c/p>\n\u003cp>It’s the character’s reentry point back into the Syrian half of her heritage. She entices a handsome Syrian into her apartment with kibbeh. Later on, when she travels to Lebanon to look him up again … she finds that sharing food with guests is one way the people there cling to their humanity in the midst of a civil war.\u003c/p>\n\u003cp>Why Lebanon? According to the United Nations High Commissioner for Refugees, most of the five and a half million Syrians who fled their country settled \u003ca href=\"http://www.unhcr.org/en-us/syria-emergency.html\" target=\"_blank\" rel=\"noopener\">just over the border\u003c/a> in —Lebanon, Turkey and Jordan. “Every vacant space is now a shelter for the refugees. Every shop or storage room has been rented out. Every room is now shared by many families,” our unnamed character explains. “People spend all day waiting for something to happen.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uyo5z3X8U1A]\u003c/p>\n\u003cp>El Samahy — who by the way, is half Egyptian — says she hopes \u003cem>Oh My Sweet Land\u003c/em> encourages people to take action while it makes a difference.\u003c/p>\n\u003cp>“This is a way to generate conversation. I also have a kid, and is he going to ask me in 15 years, ‘What did you do?’ You know? I don’t have that answer. I mean, I donate money. We all have our causes, but I don’t want to shut down. That’s why we do this work,” el Samahy says.\u003c/p>\n\u003cp>“When you’re feeding people, they trust you — implicitly, because they’re going to eat your food! There’s a give and take that’s unspoken. It’s relaxing. It’s intimate. It’s all of that,” says Torange Yeghiazarian, the play’s director and artistic director for Golden Thread Productions.\u003c/p>\n\u003cp>Yeghiazarian adds, “Part of what we’re doing by going to people’s homes and workplaces is to say you’re not alone. We’re in this together and we can hold each other, and we talk about it, and possibly somebody will find a solution, you know?”\u003c/p>\n\u003cp>After the play, audience members are invited to hang out, eat Syrian food, and process what they’ve just seen. The smell of spices like cumin and sumac coming to life as they fry in sizzling oil has a way of transcending the walls people build between cultures. It’s also impossible to look away when el Samahy is two feet away, telling you about children killed in chemical weapons attacks.\u003c/p>\n\u003cp>“It’s just such a contrast — the warmth and the security that we have, juxtaposed with what her characters have gone through. It’s visceral,” says Jennifer Pien of Menlo Park.\u003c/p>\n\u003cp>The theatre company encourages those of a mind to donate time or money to consider doing so to the \u003ca href=\"https://www.rescue.org/topic/refugee-crisis\" target=\"_blank\" rel=\"noopener\">International Rescue Committee\u003c/a>, one of a number of organizations that has been resettling Syrian refugees in California.\u003c/p>\n\u003cp>You might think the liberal San Francisco Bay Area already sympathizes with the plight of Syrian refugees, but most Syrian refugees in California are living in relatively conservative San Diego County and the Central Valley.\u003c/p>\n\u003cp>In part, that’s due to the relative prices of real estate. But also, those organizations that settle refugees like to settle them near others from the same region. El Cajon in San Diego County, for instance, is home to a large and growing Arabic-speaking community, including many people from Iraq and Syria.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The second Bay Area run of Oh My Sweet Land plays in March, 2018. For more information, click \u003cstrong>\u003ca href=\"http://www.goldenthread.org/2017-season/oh-my-sweet-land/calendar-2018/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The latest play from Golden Thread Productions tackles the Syrian Refugee Crisis over a hot pan full of kibbeh. ",
"status": "publish",
"parent": 0,
"modified": 1726781886,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 980
},
"headData": {
"title": "'Oh My Sweet Land' Stirs Up Compassion For Syrian Refugees | KQED",
"description": "The latest play from Golden Thread Productions tackles the Syrian Refugee Crisis over a hot pan full of kibbeh. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Oh My Sweet Land' Stirs Up Compassion For Syrian Refugees",
"datePublished": "2018-02-12T06:00:38-08:00",
"dateModified": "2024-09-19T14:38:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcr/2018/02/OhMySweetLandMyrow180212.mp3",
"sticky": false,
"path": "/arts/13824061/oh-my-sweet-land-stirs-up-compassion-for-syrian-refugees",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Trump Administration \u003ca href=\"https://www.dhs.gov/news/2018/01/31/secretary-homeland-security-kirstjen-m-nielsen-announcement-temporary-protected\" target=\"_blank\" rel=\"noopener\">recently granted\u003c/a> nearly 7,000 Syrians temporary permission to stay in the US for at least another 18 months. The civil war in Syria still rages, though you might not know it, given its absence from our news headlines here. How to stir up interest and compassion in the West? One San Francisco Bay Area theater company has an idea that involves two onions, a quarter cup of pine nuts and one pound of beef.\u003c/p>\n\u003cp>Like the Syrian refugees, \u003cem>\u003ca href=\"http://www.goldenthread.org/2017-season/oh-my-sweet-land/\" target=\"_blank\" rel=\"noopener\">Oh My Sweet Land\u003c/a> \u003c/em>has no fixed address. The one-woman show, written by Palestinian playwright Amir Nizar Zuabi, plays in kitchens, restaurants and community spaces, put on by \u003ca href=\"http://www.goldenthread.org/about/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a theatre company that focuses on Middle Eastern stories.\u003c/p>\n\u003cp>So it was that a few months ago, during the first run of the play in the Bay Area, two dozen people sat down in fold out chairs in the breakfast nook of a private home in Palo Alto home. Two feet away, on the other side of the kitchen counter, actress Nora el Samahy, began to cook \u003ci>kibbeh: \u003c/i>fried bulgur wheat balls filled with meat and spices. (Recipes vary regionally, but they’re popular throughout the Middle East.)\u003c/p>\n\u003cp>“In the recipes, they say, take an onion. What kind of an onion? Big? Small? An onion is not a unit of measurement. It’s just like saying take a man. But which man?”\u003c/p>\n\u003cp>Right away, we’re transported like Proust to intensely personal memories of watching someone else prepare dinner as we chat in the kitchen.\u003c/p>\n\u003cfigure id=\"attachment_13824084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-800x533.jpg\" alt=\"Depending on where you hail from, you spell it kibbeh, kibbe, kebbah, kubbeh, kubbah, keufteh, koupa, köfte or kubbi. Depending on where you hail from, the stuffing is finely ground lean beef, lamb, goat, or camel meat.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29329_SweetLand-Press-07-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Depending on where you hail from, you spell it kibbeh, kibbe, kebbah, kubbeh, kubbah, keufteh, koupa, köfte or kubbi. Depending on where you hail from, the stuffing is finely ground lean beef, lamb, goat, or camel meat. \u003ccite>(Photo: Courtesy of David Allen Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>El Samahy plays a Syrian-German woman who relates the story of her affair with a Syrian refugee. The character never gives \u003ci>her\u003c/i> name, but we learn a lot about kibbeh.\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>“Wheat, meat, heat: Syria!” she declares.\u003c/p>\n\u003cp>It’s the character’s reentry point back into the Syrian half of her heritage. She entices a handsome Syrian into her apartment with kibbeh. Later on, when she travels to Lebanon to look him up again … she finds that sharing food with guests is one way the people there cling to their humanity in the midst of a civil war.\u003c/p>\n\u003cp>Why Lebanon? According to the United Nations High Commissioner for Refugees, most of the five and a half million Syrians who fled their country settled \u003ca href=\"http://www.unhcr.org/en-us/syria-emergency.html\" target=\"_blank\" rel=\"noopener\">just over the border\u003c/a> in —Lebanon, Turkey and Jordan. “Every vacant space is now a shelter for the refugees. Every shop or storage room has been rented out. Every room is now shared by many families,” our unnamed character explains. “People spend all day waiting for something to happen.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uyo5z3X8U1A'\n title='//www.youtube.com/embed/uyo5z3X8U1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>El Samahy — who by the way, is half Egyptian — says she hopes \u003cem>Oh My Sweet Land\u003c/em> encourages people to take action while it makes a difference.\u003c/p>\n\u003cp>“This is a way to generate conversation. I also have a kid, and is he going to ask me in 15 years, ‘What did you do?’ You know? I don’t have that answer. I mean, I donate money. We all have our causes, but I don’t want to shut down. That’s why we do this work,” el Samahy says.\u003c/p>\n\u003cp>“When you’re feeding people, they trust you — implicitly, because they’re going to eat your food! There’s a give and take that’s unspoken. It’s relaxing. It’s intimate. It’s all of that,” says Torange Yeghiazarian, the play’s director and artistic director for Golden Thread Productions.\u003c/p>\n\u003cp>Yeghiazarian adds, “Part of what we’re doing by going to people’s homes and workplaces is to say you’re not alone. We’re in this together and we can hold each other, and we talk about it, and possibly somebody will find a solution, you know?”\u003c/p>\n\u003cp>After the play, audience members are invited to hang out, eat Syrian food, and process what they’ve just seen. The smell of spices like cumin and sumac coming to life as they fry in sizzling oil has a way of transcending the walls people build between cultures. It’s also impossible to look away when el Samahy is two feet away, telling you about children killed in chemical weapons attacks.\u003c/p>\n\u003cp>“It’s just such a contrast — the warmth and the security that we have, juxtaposed with what her characters have gone through. It’s visceral,” says Jennifer Pien of Menlo Park.\u003c/p>\n\u003cp>The theatre company encourages those of a mind to donate time or money to consider doing so to the \u003ca href=\"https://www.rescue.org/topic/refugee-crisis\" target=\"_blank\" rel=\"noopener\">International Rescue Committee\u003c/a>, one of a number of organizations that has been resettling Syrian refugees in California.\u003c/p>\n\u003cp>You might think the liberal San Francisco Bay Area already sympathizes with the plight of Syrian refugees, but most Syrian refugees in California are living in relatively conservative San Diego County and the Central Valley.\u003c/p>\n\u003cp>In part, that’s due to the relative prices of real estate. But also, those organizations that settle refugees like to settle them near others from the same region. El Cajon in San Diego County, for instance, is home to a large and growing Arabic-speaking community, including many people from Iraq and Syria.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The second Bay Area run of Oh My Sweet Land plays in March, 2018. For more information, click \u003cstrong>\u003ca href=\"http://www.goldenthread.org/2017-season/oh-my-sweet-land/calendar-2018/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13824061/oh-my-sweet-land-stirs-up-compassion-for-syrian-refugees",
"authors": [
"251"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1255",
"arts_1315"
],
"featImg": "arts_13824076",
"label": "arts"
},
"arts_13824126": {
"type": "posts",
"id": "arts_13824126",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13824126",
"score": null,
"sort": [
1518271216000
]
},
"guestAuthors": [],
"slug": "the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz",
"title": "The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz",
"publishDate": 1518271216,
"format": "audio",
"headTitle": "The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ",
"status": "publish",
"parent": 0,
"modified": 1726781888,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 897
},
"headData": {
"title": "The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz | KQED",
"description": "The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz",
"datePublished": "2018-02-10T06:00:16-08:00",
"dateModified": "2024-09-19T14:38:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio//2018/02/TheDeadWillTalkToYouNowOrAtLeastListenInSantaCruz.mp3",
"sticky": false,
"path": "/arts/13824126/the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13824126/the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_2836",
"arts_3648",
"arts_1028"
],
"featImg": "arts_13824130",
"label": "arts"
},
"arts_13824093": {
"type": "posts",
"id": "arts_13824093",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13824093",
"score": null,
"sort": [
1518204573000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1518204573,
"format": "standard",
"title": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide",
"headTitle": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide | KQED",
"content": "\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 450,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705028550,
"excerpt": "Messick had been a manager for actress Rose McGowan in 1997, when McGowan says Weinstein raped her. \"She became collateral damage in an already horrific story,\" the family says.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Messick had been a manager for actress Rose McGowan in 1997, when McGowan says Weinstein raped her. "She became collateral damage in an already horrific story," the family says.",
"title": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide",
"datePublished": "2018-02-09T11:29:33-08:00",
"dateModified": "2024-01-11T19:02:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jill-messick-producer-embroiled-in-weinstein-scandal-dies-by-suicide",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=584465715&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Neuman",
"nprStoryDate": "Fri, 09 Feb 2018 09:50:32 -0500",
"nprLastModifiedDate": "Fri, 09 Feb 2018 11:45:46 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/02/09/584465715/jill-messick-hollywood-producer-embroiled-in-weinstein-scandal-dies-in-suicide?ft=nprml&f=584465715",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Kevin Winter",
"nprStoryId": "584465715",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 09 Feb 2018 11:45:00 -0500",
"path": "/arts/13824093/jill-messick-producer-embroiled-in-weinstein-scandal-dies-by-suicide",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13824093/jill-messick-producer-embroiled-in-weinstein-scandal-dies-by-suicide",
"authors": [
"byline_arts_13824093"
],
"categories": [
"arts_74",
"arts_235"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13824094",
"label": "arts_137"
},
"arts_13824047": {
"type": "posts",
"id": "arts_13824047",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13824047",
"score": null,
"sort": [
1518139032000
]
},
"guestAuthors": [],
"slug": "musical-inspired-by-huey-lewis-the-news-in-the-works",
"title": "Musical Inspired By Huey Lewis & the News in the Works",
"publishDate": 1518139032,
"format": "standard",
"headTitle": "Musical Inspired By Huey Lewis & the News in the Works | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In today’s installment of “What, really?” news, a Huey Lewis and the News musical is in the planning stages.\u003c/p>\n\u003cp>Titled \u003ci>Heart of Rock and Roll,\u003c/i> the jukebox musical is not a biographical story about San Francisco’s kings of ’80s pop-rock, but it will feature their hit songs like “Hip to Be Square,” “If This is It” and “The Power of Love.” Though a premiere date or theater have not yet been announced, \u003ci>Rolling Stone\u003c/i> reports that \u003ca href=\"http://www.gordongreenberg.com/about/\" rel=\"noopener\" target=\"_blank\">Gordon Greenberg\u003c/a> will helm the project. Based in New York, Greenberg has directed dozens of works for the stage, including an award-winning production of \u003ci>Working\u003c/i> that he adapted with Stephen Schwartz and Lin-Manuel Miranda. \u003c/p>\n\u003cp>Television celebrity Jimmy Kimmel helped the band \u003ca href=\"https://www.rollingstone.com/music/news/huey-lewis-and-the-news-musical-heart-of-rock-and-roll-w516492\" rel=\"noopener\" target=\"_blank\">announce the news \u003c/a> in a video released Thursday morning. In the video, Kimmel expects to star in the musical as Lewis, despite Lewis not being a character in the show.\u003c/p>\n\u003cp>“I’m retiring from my show to play Huey Lewis, in a musical about Huey Lewis,” Kimmel says in the video. (Kimmel hosts the show \u003cem>Jimmy Kimmel Live\u003c/em> on ABC.)\u003c/p>\n\u003cp>Lewis and the News ruled ’80s radio after the release of their third album, 1983’s \u003ci>Sports.\u003c/i> (It also inspired a gruesome scene in Bret Easton Ellis’s \u003ci>American Psycho.\u003c/i>) In total, the band has had 19 top ten singles, three platinum albums and an \u003ca href=\"https://en.wikipedia.org/wiki/The_Power_of_Love_(Huey_Lewis_and_the_News_song)\" rel=\"noopener\" target=\"_blank\">Oscar nomination\u003c/a> over their almost 40-year career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By having their own musical, Lewis and the News join the ranks of iconic bands like ABBA and Green Day. It could also be a quite profitable venture. For example, Green Day’s \u003ci>American Idiot\u003c/i> grossed between \u003ca href=\"https://www.ibdb.com/grosses-production/american-idiot-485578/0\" rel=\"noopener\" target=\"_blank\">$400,000 to $1.3 million weekly\u003c/a> during its Broadway from 2010-2011. But it could also face the same fate as musical flops such as the Beach Boys musical \u003ci>Good Vibrations\u003c/i> or \u003ci>The Times They Are A-Changin’,\u003c/i> the Bob Dylan-inspired musical that closed after just 28 performances.\u003c/p>\n\u003cp>The musical is the band’s first project since their 2013 single, “While We’re Young,” which was featured in the animated film \u003ci>Animal Crackers.\u003c/i> The band is also expected to release a new album this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AaTQAaJWW54\u003c/p>\n\n",
"blocks": [],
"excerpt": "The 1980s Bay Area band along with television celebrity Jimmy Kimmel announced the musical Thursday.",
"status": "publish",
"parent": 0,
"modified": 1726706738,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 391
},
"headData": {
"title": "Musical Inspired By Huey Lewis & the News in the Works | KQED",
"description": "The 1980s Bay Area band along with television celebrity Jimmy Kimmel announced the musical Thursday.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Musical Inspired By Huey Lewis & the News in the Works",
"datePublished": "2018-02-08T17:17:12-08:00",
"dateModified": "2024-09-18T17:45:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13824047/musical-inspired-by-huey-lewis-the-news-in-the-works",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In today’s installment of “What, really?” news, a Huey Lewis and the News musical is in the planning stages.\u003c/p>\n\u003cp>Titled \u003ci>Heart of Rock and Roll,\u003c/i> the jukebox musical is not a biographical story about San Francisco’s kings of ’80s pop-rock, but it will feature their hit songs like “Hip to Be Square,” “If This is It” and “The Power of Love.” Though a premiere date or theater have not yet been announced, \u003ci>Rolling Stone\u003c/i> reports that \u003ca href=\"http://www.gordongreenberg.com/about/\" rel=\"noopener\" target=\"_blank\">Gordon Greenberg\u003c/a> will helm the project. Based in New York, Greenberg has directed dozens of works for the stage, including an award-winning production of \u003ci>Working\u003c/i> that he adapted with Stephen Schwartz and Lin-Manuel Miranda. \u003c/p>\n\u003cp>Television celebrity Jimmy Kimmel helped the band \u003ca href=\"https://www.rollingstone.com/music/news/huey-lewis-and-the-news-musical-heart-of-rock-and-roll-w516492\" rel=\"noopener\" target=\"_blank\">announce the news \u003c/a> in a video released Thursday morning. In the video, Kimmel expects to star in the musical as Lewis, despite Lewis not being a character in the show.\u003c/p>\n\u003cp>“I’m retiring from my show to play Huey Lewis, in a musical about Huey Lewis,” Kimmel says in the video. (Kimmel hosts the show \u003cem>Jimmy Kimmel Live\u003c/em> on ABC.)\u003c/p>\n\u003cp>Lewis and the News ruled ’80s radio after the release of their third album, 1983’s \u003ci>Sports.\u003c/i> (It also inspired a gruesome scene in Bret Easton Ellis’s \u003ci>American Psycho.\u003c/i>) In total, the band has had 19 top ten singles, three platinum albums and an \u003ca href=\"https://en.wikipedia.org/wiki/The_Power_of_Love_(Huey_Lewis_and_the_News_song)\" rel=\"noopener\" target=\"_blank\">Oscar nomination\u003c/a> over their almost 40-year career.\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>By having their own musical, Lewis and the News join the ranks of iconic bands like ABBA and Green Day. It could also be a quite profitable venture. For example, Green Day’s \u003ci>American Idiot\u003c/i> grossed between \u003ca href=\"https://www.ibdb.com/grosses-production/american-idiot-485578/0\" rel=\"noopener\" target=\"_blank\">$400,000 to $1.3 million weekly\u003c/a> during its Broadway from 2010-2011. But it could also face the same fate as musical flops such as the Beach Boys musical \u003ci>Good Vibrations\u003c/i> or \u003ci>The Times They Are A-Changin’,\u003c/i> the Bob Dylan-inspired musical that closed after just 28 performances.\u003c/p>\n\u003cp>The musical is the band’s first project since their 2013 single, “While We’re Young,” which was featured in the animated film \u003ci>Animal Crackers.\u003c/i> The band is also expected to release a new album this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AaTQAaJWW54'\n title='//www.youtube.com/embed/AaTQAaJWW54'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13824047/musical-inspired-by-huey-lewis-the-news-in-the-works",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_13824060",
"label": "arts"
},
"arts_13824005": {
"type": "posts",
"id": "arts_13824005",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13824005",
"score": null,
"sort": [
1518109298000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1518109298,
"format": "standard",
"title": "John Prine to Release His First Album of New Songs in 13 Years",
"headTitle": "John Prine to Release His First Album of New Songs in 13 Years | KQED",
"content": "\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9XLaIFTmJF8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 573,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705028561,
"excerpt": "Prine will release \u003cem>The Tree of Forgiveness\u003c/em> on April 13. The first song from the album, \"Summer's End,\" is classic Prine, a portrait of the true weight a relationship accrues as time passes.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Prine will release The Tree of Forgiveness on April 13. The first song from the album, "Summer's End," is classic Prine, a portrait of the true weight a relationship accrues as time passes.",
"title": "John Prine to Release His First Album of New Songs in 13 Years | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "John Prine to Release His First Album of New Songs in 13 Years",
"datePublished": "2018-02-08T09:01:38-08:00",
"dateModified": "2024-01-11T19:02:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "john-prine-to-release-his-first-album-of-new-songs-in-13-years",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=584219320&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Jacob Ganz",
"nprStoryDate": "Thu, 08 Feb 2018 11:37:29 -0500",
"nprLastModifiedDate": "Thu, 08 Feb 2018 11:48:12 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/02/08/584219320/john-prine-to-release-his-first-album-of-new-songs-in-13-years?ft=nprml&f=584219320",
"nprImageAgency": "Courtesy of the artist",
"nprImageCredit": "Danny Clinch",
"nprStoryId": "584219320",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 08 Feb 2018 11:48:00 -0500",
"path": "/arts/13824005/john-prine-to-release-his-first-album-of-new-songs-in-13-years",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9XLaIFTmJF8'\n title='//www.youtube.com/embed/9XLaIFTmJF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13824005/john-prine-to-release-his-first-album-of-new-songs-in-13-years",
"authors": [
"byline_arts_13824005"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_7534",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13824006",
"label": "arts_137"
},
"arts_13823971": {
"type": "posts",
"id": "arts_13823971",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823971",
"score": null,
"sort": [
1518058884000
]
},
"guestAuthors": [],
"slug": "cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70",
"title": "Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70",
"publishDate": 1518058884,
"format": "standard",
"headTitle": "Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\n\u003cp>https://twitter.com/BKCHarvard/status/961373106047774721\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "He was an Internet visionary who foresaw conflicts between the government and individual liberty in the information age.",
"status": "publish",
"parent": 0,
"modified": 1726701295,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 323
},
"headData": {
"title": "Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70 | KQED",
"description": "He was an Internet visionary who foresaw conflicts between the government and individual liberty in the information age.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70",
"datePublished": "2018-02-07T19:01:24-08:00",
"dateModified": "2024-09-18T16:14:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jesse Knish",
"nprByline": "Richard Gonzales",
"nprImageAgency": "Getty Images for SXSW",
"nprStoryId": "584124201",
"nprApiLink": "http://api.npr.org/query?id=584124201&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/02/07/584124201/cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70?ft=nprml&f=584124201",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 07 Feb 2018 20:21:00 -0500",
"nprStoryDate": "Wed, 07 Feb 2018 19:08:00 -0500",
"nprLastModifiedDate": "Wed, 07 Feb 2018 20:22:26 -0500",
"path": "/arts/13823971/cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "961373106047774721"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823971/cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70",
"authors": [
"byline_arts_13823971"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1845",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13823972",
"label": "arts_137"
},
"arts_13823865": {
"type": "posts",
"id": "arts_13823865",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823865",
"score": null,
"sort": [
1518048401000
]
},
"guestAuthors": [],
"slug": "report-the-armory-sold-for-65m-future-as-music-venue-uncertain",
"title": "Report: The Armory Sold for $65M, Future as Music Venue Uncertain",
"publishDate": 1518048401,
"format": "standard",
"headTitle": "Report: The Armory Sold for $65M, Future as Music Venue Uncertain | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The castle in the Mission District has been sold.\u003c/p>\n\u003cp>According to the San Francisco Business Times, a developer purchased San Francisco’s National Guard Armory, one of two 4,000-capacity spaces for live music in the city, for $65 million. The Chicago-based developer, Benjamin Weprin, worked previously with Soho House, a private club and hotel operator. \u003c/p>\n\u003cp>The sale puts the Armory’s future as a music venue in limbo, says current Armory director of events Audrey Joseph. In charge of the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" rel=\"noopener\" target=\"_blank\">venue since 2015\u003c/a>, Joseph told local news blog \u003ca href=\"https://48hills.org/2018/02/sf-armory-kink-developer/\" rel=\"noopener\" target=\"_blank\">48 Hills\u003c/a> that she and the rest of her team at Armory Events will be out by the end of March. She added that a major concert promotion company is “angling” to take over the Armory, but would only be able to contract with the venue for a year.\u003c/p>\n\u003cp>Some suggest that the company Joseph refers to is \u003ca href=\"http://www.goldenvoice.com/\" rel=\"noopener\" target=\"_blank\">Goldenvoice\u003c/a>, the company behind the massive Coachella Valley Music and Arts Festival who recently took over booking for local clubs the Great American Music Hall and Slim’s, and who is currently promoting shows by Lil Uzi Vert and Erykah Badu at the Armory.\u003c/p>\n\u003cp>“It’s strange because we have huge events coming up here,” Joseph told 48 Hills. In addition to Uzi Vert and Badu, the Armory’s event calendar includes “the Opel party, a bunch of corporate events. We’re working our asses off. So really, I cannot say I know anything exactly that’s going on, other than the last week of March we’re out.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sale somewhat confirms \u003ca href=\"https://sf.eater.com/2017/11/14/16650330/sf-armory-soho-house-social-club-kink-am-intel\" rel=\"noopener\" target=\"_blank\">reports last year\u003c/a> that Soho House aimed to purchase the venue, as Weprin helped develop a former belt factory into the Chicago Soho House. The Welprin-affiliated company SF Armory LLC completed the purchase on Jan. 26. \u003c/p>\n\u003cp>The $65 million price tag could mean previous owner Peter Acworth made quite a profit. Acworth bought the century-old castle-like building in 2006 for $14.5 million to host his BDSM website, Kink.com. As free Internet porn and political pushes to require condom use in porn undercut Kink’s profitability, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/25/kink-com-to-stop-filming-in-san-francisco-next-month/\" rel=\"noopener\" target=\"_blank\">Kink.com stopped filming\u003c/a> at the Armory and Acworth moved to turn the hall into office space and a music venue — with \u003ca href=\"https://ww2.kqed.org/arts/2015/09/24/entertainment-commission-nightlife-heroes-or-instrument-of-destruction/\" rel=\"noopener\" target=\"_blank\">Joseph’s help\u003c/a>.\u003c/p>\n\u003cp>But the transition wasn’t cheap: not only did Acworth pay millions to convert the space into a music venue, he helped finance the campaign against \u003ca href=\"https://www.huffingtonpost.com/peter-acworth/sfs-prop-i-will-kill-plan_b_8209472.html\" rel=\"noopener\" target=\"_blank\">San Francisco’s Proposition I\u003c/a>, which would’ve limited the Armory’s concert calendar.\u003c/p>\n\u003cp>Calls and emails to AJ Capital Partners and Armory Events were not returned.\u003c/p>\n\u003cp>Built in 1914, the Armory originally housed the arsenal for local National Guardsmen. From the ’20s to the 40s, it served as a sports venue and was referred to as the “\u003ca href=\"http://www.sfarmory.com/history/\" rel=\"noopener\" target=\"_blank\">Madison Square Garden of the West\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The sale to a developer connected with a membership-only hotel company could mean big changes for the venue.",
"status": "publish",
"parent": 0,
"modified": 1726706743,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 493
},
"headData": {
"title": "Report: The Armory Sold for $65M, Future as Music Venue Uncertain | KQED",
"description": "The sale to a developer connected with a membership-only hotel company could mean big changes for the venue.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Report: The Armory Sold for $65M, Future as Music Venue Uncertain",
"datePublished": "2018-02-07T16:06:41-08:00",
"dateModified": "2024-09-18T17:45:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13823865/report-the-armory-sold-for-65m-future-as-music-venue-uncertain",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The castle in the Mission District has been sold.\u003c/p>\n\u003cp>According to the San Francisco Business Times, a developer purchased San Francisco’s National Guard Armory, one of two 4,000-capacity spaces for live music in the city, for $65 million. The Chicago-based developer, Benjamin Weprin, worked previously with Soho House, a private club and hotel operator. \u003c/p>\n\u003cp>The sale puts the Armory’s future as a music venue in limbo, says current Armory director of events Audrey Joseph. In charge of the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" rel=\"noopener\" target=\"_blank\">venue since 2015\u003c/a>, Joseph told local news blog \u003ca href=\"https://48hills.org/2018/02/sf-armory-kink-developer/\" rel=\"noopener\" target=\"_blank\">48 Hills\u003c/a> that she and the rest of her team at Armory Events will be out by the end of March. She added that a major concert promotion company is “angling” to take over the Armory, but would only be able to contract with the venue for a year.\u003c/p>\n\u003cp>Some suggest that the company Joseph refers to is \u003ca href=\"http://www.goldenvoice.com/\" rel=\"noopener\" target=\"_blank\">Goldenvoice\u003c/a>, the company behind the massive Coachella Valley Music and Arts Festival who recently took over booking for local clubs the Great American Music Hall and Slim’s, and who is currently promoting shows by Lil Uzi Vert and Erykah Badu at the Armory.\u003c/p>\n\u003cp>“It’s strange because we have huge events coming up here,” Joseph told 48 Hills. In addition to Uzi Vert and Badu, the Armory’s event calendar includes “the Opel party, a bunch of corporate events. We’re working our asses off. So really, I cannot say I know anything exactly that’s going on, other than the last week of March we’re out.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sale somewhat confirms \u003ca href=\"https://sf.eater.com/2017/11/14/16650330/sf-armory-soho-house-social-club-kink-am-intel\" rel=\"noopener\" target=\"_blank\">reports last year\u003c/a> that Soho House aimed to purchase the venue, as Weprin helped develop a former belt factory into the Chicago Soho House. The Welprin-affiliated company SF Armory LLC completed the purchase on Jan. 26. \u003c/p>\n\u003cp>The $65 million price tag could mean previous owner Peter Acworth made quite a profit. Acworth bought the century-old castle-like building in 2006 for $14.5 million to host his BDSM website, Kink.com. As free Internet porn and political pushes to require condom use in porn undercut Kink’s profitability, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/25/kink-com-to-stop-filming-in-san-francisco-next-month/\" rel=\"noopener\" target=\"_blank\">Kink.com stopped filming\u003c/a> at the Armory and Acworth moved to turn the hall into office space and a music venue — with \u003ca href=\"https://ww2.kqed.org/arts/2015/09/24/entertainment-commission-nightlife-heroes-or-instrument-of-destruction/\" rel=\"noopener\" target=\"_blank\">Joseph’s help\u003c/a>.\u003c/p>\n\u003cp>But the transition wasn’t cheap: not only did Acworth pay millions to convert the space into a music venue, he helped finance the campaign against \u003ca href=\"https://www.huffingtonpost.com/peter-acworth/sfs-prop-i-will-kill-plan_b_8209472.html\" rel=\"noopener\" target=\"_blank\">San Francisco’s Proposition I\u003c/a>, which would’ve limited the Armory’s concert calendar.\u003c/p>\n\u003cp>Calls and emails to AJ Capital Partners and Armory Events were not returned.\u003c/p>\n\u003cp>Built in 1914, the Armory originally housed the arsenal for local National Guardsmen. From the ’20s to the 40s, it served as a sports venue and was referred to as the “\u003ca href=\"http://www.sfarmory.com/history/\" rel=\"noopener\" target=\"_blank\">Madison Square Garden of the West\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823865/report-the-armory-sold-for-65m-future-as-music-venue-uncertain",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_3875",
"arts_3874",
"arts_596"
],
"featImg": "arts_11463953",
"label": "arts"
},
"arts_13823908": {
"type": "posts",
"id": "arts_13823908",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823908",
"score": null,
"sort": [
1518048096000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1518048096,
"format": "standard",
"title": "When Moral Principles Lose Out to Love",
"headTitle": "When Moral Principles Lose Out to Love | KQED",
"content": "\u003cp>George Bernard Shaw’s first play, \u003cem>Widowers’ Houses,\u003c/em> was partly inspired by Shaw’s experience working as a rent-collector for a London slumlord. The play is a comic romance, but also a sermon on abusive landlords and tenants’ rights. \u003cem>Widowers’ Houses\u003c/em> earned Shaw plenty of boos at its premiere in 1892. While Shaw blames the slumlord Mr. Sartorius (who gets the best lines in the play) for the dangerous and dirty housing he provides to the poor, he also condemns the wealthy theater goers in the audience and city laws for their complicity. Dan Hoyle, famous for his solo shows \u003cem>Tings Dey Happen\u003c/em> and \u003cem>The Real Americans,\u003c/em> stars as Harry Trench, a doctor torn between love for his fiancee Blanche Sartorius (Megan Trout), and revulsion at the source of her income, her father’s slum empire.\u003c/p>\n\u003cp>“It’s a story about what happens,” Hoyle told me recently, “when you find out that the people you love have acquired their money through unjust means. And how do you reconcile with that. So really it’s about reconciling with capitalism.”\u003c/p>\n\u003cp>Details for Widowers’ Houses Jan. 26- March 4 at the Aurora Theatre in Berkeley are\u003ca href=\"http://www.auroratheatre.org/widowers-houses\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 210,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705028570,
"excerpt": "George Bernard Shaw's first play indicts slumlords and the audience for the plight of the poor ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "George Bernard Shaw's first play indicts slumlords and the audience for the plight of the poor ",
"title": "When Moral Principles Lose Out to Love | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When Moral Principles Lose Out to Love",
"datePublished": "2018-02-07T16:01:36-08:00",
"dateModified": "2024-01-11T19:02:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "when-moral-principles-lose-out-to-love",
"status": "publish",
"sticky": false,
"path": "/arts/13823908/when-moral-principles-lose-out-to-love",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>George Bernard Shaw’s first play, \u003cem>Widowers’ Houses,\u003c/em> was partly inspired by Shaw’s experience working as a rent-collector for a London slumlord. The play is a comic romance, but also a sermon on abusive landlords and tenants’ rights. \u003cem>Widowers’ Houses\u003c/em> earned Shaw plenty of boos at its premiere in 1892. While Shaw blames the slumlord Mr. Sartorius (who gets the best lines in the play) for the dangerous and dirty housing he provides to the poor, he also condemns the wealthy theater goers in the audience and city laws for their complicity. Dan Hoyle, famous for his solo shows \u003cem>Tings Dey Happen\u003c/em> and \u003cem>The Real Americans,\u003c/em> stars as Harry Trench, a doctor torn between love for his fiancee Blanche Sartorius (Megan Trout), and revulsion at the source of her income, her father’s slum empire.\u003c/p>\n\u003cp>“It’s a story about what happens,” Hoyle told me recently, “when you find out that the people you love have acquired their money through unjust means. And how do you reconcile with that. So really it’s about reconciling with capitalism.”\u003c/p>\n\u003cp>Details for Widowers’ Houses Jan. 26- March 4 at the Aurora Theatre in Berkeley are\u003ca href=\"http://www.auroratheatre.org/widowers-houses\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823908/when-moral-principles-lose-out-to-love",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_1006",
"arts_596",
"arts_1072"
],
"featImg": "arts_13823919",
"label": "arts_140"
},
"arts_13823842": {
"type": "posts",
"id": "arts_13823842",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823842",
"score": null,
"sort": [
1518019234000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1518019234,
"format": "standard",
"title": "Women in the Music Industry Call for 'Evolution' at the Grammys",
"headTitle": "Women in the Music Industry Call for ‘Evolution’ at the Grammys | KQED",
"content": "\u003cp>Top solo artists and groups of high-powered female executives in the music industry are demanding change within the Recording Academy. Much of that momentum has built up over the past week, since the telecast of this year’s Grammy Awards ceremony, which were held Jan. 28 at Madison Square Garden.\u003c/p>\n\u003cp>The outcry is a direct response to the the format and content of this year’s telecast, and to statements made by the highest-ranked official at the Recording Academy — the professional organization whose members vote for the Grammys — and the producer of the telecast.\u003c/p>\n\u003cp>Among those who have spoken out are musicians including Pink, Fiona Apple, India.Arie, Sheryl Crow, Vanessa Carlton, Charli XCX and Kelly Clarkson, as well as two groups of highly influential, female industry executives. Many of those women are calling for fundamental changes to the way that the Recording Academy (also known as NARAS, or the National Academy of Recording Arts and Sciences) is run, and for a change in the organization’s leadership. NARAS has responded with plans to address issues of gender bias. However, NPR has learned that the group does not know current demographic details about its membership.\u003c/p>\n\u003cp>In the run-up to this year’s Grammy ceremony, there was a great deal of public speculation about whether or not the Academy would address #MeToo and #TimesUp with the same coordination and effect that\u003cstrong> \u003c/strong>Hollywood did at this year’s \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/07/576036145/at-the-golden-globes-not-just-another-red-carpet\" target=\"_blank\" rel=\"noopener\">Golden Globes\u003c/a> — in what Meryl Streep memorably called a “thick black line.”\u003c/p>\n\u003cp>The Recording Academy may have expected that the evening would be a victory lap, a 60th anniversary celebration of the industry’s own successes. With a provocative opening performance by Kendrick Lamar and a segment dedicated to #MeToo and #TimesUp, it’s entirely possible that the ceremony’s organizers felt that they were ticking all the right boxes for 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, much of “music’s biggest night,” as the Recording Academy likes to refer to its annual ceremony, was dedicated to safe, familiar presences — including performances by U2, Sting and Shaggy — but there were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/28/581467347/live-blog-2018-grammy-awards\" target=\"_blank\" rel=\"noopener\">moments\u003c/a> when the conversations of today peeked out into view. (Dave Chapelle, mid-Kendrick Lamar set: “The only thing more frightening than watching a black man be honest in America is being an honest black man in America.”)\u003c/p>\n\u003cp>Over the course of the three-and-a-half hour telecast, only one solo female musician accepted an award on screen: Alessia Cara, who was awarded Best New Artist.\u003c/p>\n\u003cp>Conversations about gender equality and alleged sexual misconduct were, aside from the white roses pinned to the lapels and dresses of many attendees, mostly shoehorned into a single segment of the televised ceremony. It began with a fiery introduction from singer and actress Janelle Monae, who declared: “We come in peace, but we mean business. And to those of you who would dare try and silence us, we offer you two words: Time’s up.”\u003c/p>\n\u003cp>What followed was an anthemic performance of “Praying” led by Kesha, who was joined by Cyndi Lauper, Camila Cabello, Bebe Rexha, Julia Michels, Andra Day and the Resistance Revival Chorus. And then, it was back to Bono.\u003c/p>\n\u003cp>A number of high-profile allegations of sexual assault or misconduct have emerged from the recording industry, and many female musicians have added their stories to the #MeToo movement. But those accusations haven’t reverberated as widely, or had such earth-shaking repercussions as similar allegations have had in Hollywood, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=buM8OErfvu0\u003c/p>\n\u003cp>NARAS has no jurisdiction over the wider music industry, but it is perhaps the closest approximation of a confederation of recording industry professionals; it’s both a banner-carrier and a microcosm of the larger business. And in the week that has followed the Grammy Awards, fans, artists and other women in the music industry have made public their frustration with The Recording Academy.\u003c/p>\n\u003cp>The blowback began to build after audiences noted that the singer Lorde — the sole woman nominated for the Album of the Year prize — did not perform on the telecast. Immediately following the awards ceremony, the trade publication \u003cem>Variety\u003c/em> asked both the Recording Academy’s president and CEO, Neil Portnow, and the telecast’s producer, Ken Ehrlich, about Lorde’s absence.\u003c/p>\n\u003cp>Ehrlich argued to \u003cem>Variety\u003c/em> that there \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">just wasn’t time\u003c/a> to include Lorde as a solo performer. “These shows are a matter of choices,” Ehrlich said. “We have a box and it gets full,” he said, adding, “There’s no way we can really deal with everybody.”\u003c/p>\n\u003cp>Portnow has headed the Recording Academy since 2002; he replaced Michael Greene, who was \u003ca href=\"http://www.nytimes.com/2002/04/29/arts/grammys-chief-quits-under-fire.html\" target=\"_blank\" rel=\"noopener\">forced to resign\u003c/a> from NARAS after allegations that he sexually harassed and abused another Academy executive surfaced. (According to \u003cem>The \u003c/em>\u003cem>New York Times\u003c/em>, NARAS trustees reportedly paid the woman who accused him a $650,000 settlement, and then hired a private investigator to examine Greene’s behavior with female colleagues.) Around the same time, the \u003cem>Los Angeles Times\u003c/em> also ran an \u003ca href=\"http://articles.latimes.com/1998/feb/22/news/mn-21916\" target=\"_blank\" rel=\"noopener\">investigative series\u003c/a> examining the Recording Academy’s finances, and asserted that NARAS’ charitable arm, MusiCares, spent less than 10 percent of its fund-raised income on assisting artists.\u003c/p>\n\u003cp>Portnow — who sported a #TimesUp white rose in his lapel during this year’s telecast — made comments to \u003cem>Variety\u003c/em> that proved perhaps even more infuriating to many women. “It has to begin with … women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level,” he said. And in a phrase that became infamous immediately, Portnow added that women need “to step up because I think they would be welcome.”\u003c/p>\n\u003cp>Some prominent female musicians, like nine-time Grammy winner \u003ca href=\"https://twitter.com/SherylCrow/status/958066282959601664\" target=\"_blank\" rel=\"noopener\">Sheryl Crow\u003c/a>, three-time winner \u003ca href=\"https://twitter.com/kelly_clarkson/status/958589816714809349\" target=\"_blank\" rel=\"noopener\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://twitter.com/charli_xcx/status/958100513471447040\" target=\"_blank\" rel=\"noopener\">Charli XCX\u003c/a>, have used social media to communicate their feelings. On Jan. 30, Pink, another three-time Grammy winner who performed her ballad “Wild Hearts Can’t Be Broken” on this year’s telecast, posted a note on Twitter that spoke directly to Portnow’s “step up” comment, without addressing Portnow himself.\u003c/p>\n\u003cp>https://twitter.com/Pink/status/958121509540761600\u003c/p>\n\u003cp>“Women in music don’t need to ‘step up,'” she wrote. “Women have been stepping since the beginning of time. Stepping up, and also stepping aside.”\u003c/p>\n\u003cp>On Wednesday, Portnow tried to \u003ca href=\"http://variety.com/2018/music/news/grammy-chief-neil-portnow-walks-back-step-up-comment-i-wasnt-as-articulate-as-i-should-have-been-1202681462/\" target=\"_blank\" rel=\"noopener\">walk back\u003c/a> his comment in another statement to \u003cem>Variety\u003c/em>. He claimed that the “step up” remark was taken out of context, and did not quote “convey my beliefs and the point I was trying to make.”\u003c/p>\n\u003cp>Portnow declined requests for comment by NPR, but in a statement sent to NPR and other media outlets last Thursday, he announced that the Recording Academy is setting up an independent task force to “review every aspect of what we do as an organization, and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community.”\u003c/p>\n\u003cp>I was a voting member of the Recording Academy for several years; I qualified primarily as the author of liner notes on various recording projects, though I also have reissue producer credits. I also served as a judge for the Best Album Notes award, which is one of a handful of Grammy prize categories that isn’t open to voting by the general membership, but is decided instead by a small voting committee whose ranks spread across several local NARAS chapters. \u003cstrong> \u003c/strong>And my own experience was that in my years on that committee, I was always the only woman in the room. (I haven’t been a member of the Recording Academy or a Grammy voter since 2011, when I joined NPR.)\u003c/p>\n\u003cp>My experience may not be terribly unique: A common stereotype is that the majority of Academy voters — some \u003ca href=\"https://www.billboard.com/articles/news/6288927/how-do-you-get-a-grammy\" target=\"_blank\" rel=\"noopener\">12,000 people\u003c/a> in all — are older, white men. In terms of actual statistics, it’s not at all clear \u003cem>who\u003c/em> the Grammy voters are, or how their demographic information may (or may not) incline them to vote. As a former voter, I don’t recall ever having been asked about my gender, age or race. So in the course of pursuing commentary from Portnow, I asked the Recording Academy if the organization had any demographic statistics about its membership.\u003c/p>\n\u003cp>Through a spokesperson, the Recording Academy confirmed that NARAS has never asked its members to provide that kind of data. And so its leadership simply doesn’t know the makeup of its existing membership — which will may prove to be a significant hurdle in the kinds of improvements that Portnow is pledging to make.\u003c/p>\n\u003cp>https://www.instagram.com/p/BehB27UHojJ\u003c/p>\n\u003cp>Through a representative, Lorde declined to comment directly to NPR about her absence from the Madison Square Garden stage. On the night of the ceremony, however, she posted to Instagram a photo of a quotation from artist Jenny Holzer that she had sewn to the back of her dress, which Lorde called her “version of a white rose.”\u003c/p>\n\u003cp>A source close to the singer confirmed, though, that the only invitation Lorde received to perform on this year’s Grammy Award telecast was to be part of a group performance paying tribute to the late Tom Petty. Every other artist nominated for Album of the Year — all men, save for Lorde — was offered a chance to give a solo performance. Bruno Mars, Childish Gambino and Kendrick Lamar accepted; Jay-Z reportedly declined the invitation. (Meanwhile, the president of Lorde’s label, Republic Records, a man named Charlie Walk, was placed on leave on Jan. 31 after \u003ca href=\"https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment\" target=\"_blank\" rel=\"noopener\">three women\u003c/a> accused Walk of sexual misconduct. On Monday, Walk filed a complaint with the Manhattan district attorney’s office \u003ca href=\"https://pagesix.com/2018/02/05/charlie-walk-claims-he-was-being-extorted-before-allegations/\" target=\"_blank\" rel=\"noopener\">alleging\u003c/a> that the sexual misconduct accusations were instigated by the owner of a group of Ohio-based radio stations, who was attempting to extort Walk.)\u003c/p>\n\u003cp>In the aftermath of Portnow’s comments, some prominent female artists and industry figures have condemned him. Some are explicitly calling for Portnow to step down altogether, including singer-songwriter Vanessa Carlton, who has been nominated for three Grammy Awards, and who performed on the 2003 awards telecast. Carlton has been instrumental in publicizing a \u003ca href=\"https://www.thepetitionsite.com/602/307/220/academy-president-must-step-down-for-telling-female-musicians-to-step-up-after-grammys/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calling for Portnow’s resignation. It is not clear if those who have signed the petition, which currently has nearly 14,000 signatures, are mostly fans or individuals who work in the music industry.\u003c/p>\n\u003cp>“You have to change the system, if it’s not working,” Carlton says. “And the way that you do that is you start from the top. I would like there to be fresh blood in there — I don’t think I’m alone in that. There are nice qualities to this president, and I know he’s a nice guy. However, when you want to make changes, the leader \u003cem>has\u003c/em> to change.”\u003c/p>\n\u003cp>https://twitter.com/garbage/status/960406351431086081\u003c/p>\n\u003cp>Other artists have been equally straightforward in their sentiments. On Saturday night, when Fiona Apple performed with Garbage’s Shirley Manson in Los Angeles, Apple sported a T-shirt that read: “Kneel, Portnow.”\u003c/p>\n\u003cp>On Feb. 2 — after Portnow made his initial comments and his follow-up remarks — singer-songwriter India.Arie, the four-time Grammy winner who performed at this year’s awards in the pre-telecast portion of the event, also published an \u003ca href=\"http://www.ajc.com/lifestyles/india-arie-pens-open-letter-recording-academy-president/Y6WjVWN4Vo4Yx19uxctjBL/\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to Portnow, in which she underlined issues of intersectionality and referred to inequalities in both gender and racial representation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nBRMRxkoUX8\u003c/p>\n\u003cp>She wrote: “Neil Portnow is mistaken. His statements are a mess, but I get why he can’t empathize with women and women of color. HE is saying, the more women there are, the more chances women have to WIN. BUT. WE NEED MORE WOMEN, more WOMEN OF COLOR AND MORE INCLUSIVE MINDED PEOPLE in positions of power, in the rooms where decisions are made. When this happens, doors will open for women to be represented in more DIVERSE WAYS. The music industry is dominated by white men and the Grammys and NARAS are run and produced by ONLY white men. The fact that Portnow says we’d ‘be welcomed’ indicates that he doesn’t think we’re part of the household to begin with.”\u003c/p>\n\u003cp>Influential women who power the business of music have also stepped forward to castigate Portnow. Over the past several days, two groups of female music industry executives wrote open letters to NARAS and to Portnow urging systemic changes to the way the Grammy Awards and the Recording Academy are structured. Last Thursday, more than 20 female industry leaders — in a group helmed by attorney Rosemary Carroll that includes Warner/Chappell vice president of publishing Katie Vinten and notable artist managers, agents and publicists such as Pharrell Williams’ manager Caron Veazey — made public a letter they wrote directed to Neil Portnow.\u003c/p>\n\u003cp>That letter, which was \u003ca href=\"http://variety.com/2018/biz/news/female-executives-call-for-grammy-chief-neil-portnows-resignation-1202684962/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> by \u003cem>Variety\u003c/em>, demands Portnow’s resignation in pointed and angry terms. In part, it reads: “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements … We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”\u003c/p>\n\u003cp>“We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.'”\u003c/p>\n\u003cp>On Monday, a group of six executives from several leading record labels — Michele Anthony, executive vice president for the Universal Music Group; Jody Gerson, chairman and CEO of Universal Music Publishing Group; Julie Greenwald, chairman and COO of Atlantic Records; Desiree Perez, COO of Roc Nation; Sylvia Rhone, president of Epic Records; and Julie Greifer Swindler, executive vice president of business affairs and general counsel for Sony Music Entertainment — wrote a letter to the Recording Academy’s board of trustees.\u003c/p>\n\u003cp>NPR has obtained this letter, which reads, in part: “We are writing to you, both on behalf of ourselves as women and on behalf of our companies, after the recent Grammy nominations, awards and telecast, as well as certain statements by your President, Neil Portnow, and the producer of the Grammys’ telecast, Ken Ehrlich. Taken together, these actions once again demonstrate that NARAS remains woefully out of touch with today’s music, the music business, and even more significantly, society …”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“NARAS, which purports to represent every area of the music ecosystem (e.g., artists, producers, songwriters, engineers) should be leaders in this evolution, and yet it has shown itself to be the opposite,” the letter continues. “We ask you, as a Board, to take this message from those who have devoted their lives to music seriously. Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview … To be clear, if NARAS seeks to reflect music’s diverse community then it must ‘step up’ and be accountable to it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+In+The+Music+Industry+Call+For+%27Evolution%27+At+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2667,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 37
},
"modified": 1705028580,
"excerpt": "Artists and music executives are calling for the Recording Academy to diversify its voting ranks. One big hurdle: No one knows how many women are even members of the organization.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Artists and music executives are calling for the Recording Academy to diversify its voting ranks. One big hurdle: No one knows how many women are even members of the organization.",
"title": "Women in the Music Industry Call for 'Evolution' at the Grammys | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Women in the Music Industry Call for 'Evolution' at the Grammys",
"datePublished": "2018-02-07T08:00:34-08:00",
"dateModified": "2024-01-11T19:03:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "women-in-the-music-industry-call-for-evolution-at-the-grammys",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=583464118&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Tue, 06 Feb 2018 16:17:00 -0500",
"nprLastModifiedDate": "Tue, 06 Feb 2018 18:20:45 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys?ft=nprml&f=583464118",
"nprImageAgency": "Getty Images for NARAS",
"nprImageCredit": "Michael Kovac",
"nprStoryId": "583464118",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 06 Feb 2018 18:20:00 -0500",
"path": "/arts/13823842/women-in-the-music-industry-call-for-evolution-at-the-grammys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Top solo artists and groups of high-powered female executives in the music industry are demanding change within the Recording Academy. Much of that momentum has built up over the past week, since the telecast of this year’s Grammy Awards ceremony, which were held Jan. 28 at Madison Square Garden.\u003c/p>\n\u003cp>The outcry is a direct response to the the format and content of this year’s telecast, and to statements made by the highest-ranked official at the Recording Academy — the professional organization whose members vote for the Grammys — and the producer of the telecast.\u003c/p>\n\u003cp>Among those who have spoken out are musicians including Pink, Fiona Apple, India.Arie, Sheryl Crow, Vanessa Carlton, Charli XCX and Kelly Clarkson, as well as two groups of highly influential, female industry executives. Many of those women are calling for fundamental changes to the way that the Recording Academy (also known as NARAS, or the National Academy of Recording Arts and Sciences) is run, and for a change in the organization’s leadership. NARAS has responded with plans to address issues of gender bias. However, NPR has learned that the group does not know current demographic details about its membership.\u003c/p>\n\u003cp>In the run-up to this year’s Grammy ceremony, there was a great deal of public speculation about whether or not the Academy would address #MeToo and #TimesUp with the same coordination and effect that\u003cstrong> \u003c/strong>Hollywood did at this year’s \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/07/576036145/at-the-golden-globes-not-just-another-red-carpet\" target=\"_blank\" rel=\"noopener\">Golden Globes\u003c/a> — in what Meryl Streep memorably called a “thick black line.”\u003c/p>\n\u003cp>The Recording Academy may have expected that the evening would be a victory lap, a 60th anniversary celebration of the industry’s own successes. With a provocative opening performance by Kendrick Lamar and a segment dedicated to #MeToo and #TimesUp, it’s entirely possible that the ceremony’s organizers felt that they were ticking all the right boxes for 2018.\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>Instead, much of “music’s biggest night,” as the Recording Academy likes to refer to its annual ceremony, was dedicated to safe, familiar presences — including performances by U2, Sting and Shaggy — but there were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/28/581467347/live-blog-2018-grammy-awards\" target=\"_blank\" rel=\"noopener\">moments\u003c/a> when the conversations of today peeked out into view. (Dave Chapelle, mid-Kendrick Lamar set: “The only thing more frightening than watching a black man be honest in America is being an honest black man in America.”)\u003c/p>\n\u003cp>Over the course of the three-and-a-half hour telecast, only one solo female musician accepted an award on screen: Alessia Cara, who was awarded Best New Artist.\u003c/p>\n\u003cp>Conversations about gender equality and alleged sexual misconduct were, aside from the white roses pinned to the lapels and dresses of many attendees, mostly shoehorned into a single segment of the televised ceremony. It began with a fiery introduction from singer and actress Janelle Monae, who declared: “We come in peace, but we mean business. And to those of you who would dare try and silence us, we offer you two words: Time’s up.”\u003c/p>\n\u003cp>What followed was an anthemic performance of “Praying” led by Kesha, who was joined by Cyndi Lauper, Camila Cabello, Bebe Rexha, Julia Michels, Andra Day and the Resistance Revival Chorus. And then, it was back to Bono.\u003c/p>\n\u003cp>A number of high-profile allegations of sexual assault or misconduct have emerged from the recording industry, and many female musicians have added their stories to the #MeToo movement. But those accusations haven’t reverberated as widely, or had such earth-shaking repercussions as similar allegations have had in Hollywood, for example.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/buM8OErfvu0'\n title='//www.youtube.com/embed/buM8OErfvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NARAS has no jurisdiction over the wider music industry, but it is perhaps the closest approximation of a confederation of recording industry professionals; it’s both a banner-carrier and a microcosm of the larger business. And in the week that has followed the Grammy Awards, fans, artists and other women in the music industry have made public their frustration with The Recording Academy.\u003c/p>\n\u003cp>The blowback began to build after audiences noted that the singer Lorde — the sole woman nominated for the Album of the Year prize — did not perform on the telecast. Immediately following the awards ceremony, the trade publication \u003cem>Variety\u003c/em> asked both the Recording Academy’s president and CEO, Neil Portnow, and the telecast’s producer, Ken Ehrlich, about Lorde’s absence.\u003c/p>\n\u003cp>Ehrlich argued to \u003cem>Variety\u003c/em> that there \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">just wasn’t time\u003c/a> to include Lorde as a solo performer. “These shows are a matter of choices,” Ehrlich said. “We have a box and it gets full,” he said, adding, “There’s no way we can really deal with everybody.”\u003c/p>\n\u003cp>Portnow has headed the Recording Academy since 2002; he replaced Michael Greene, who was \u003ca href=\"http://www.nytimes.com/2002/04/29/arts/grammys-chief-quits-under-fire.html\" target=\"_blank\" rel=\"noopener\">forced to resign\u003c/a> from NARAS after allegations that he sexually harassed and abused another Academy executive surfaced. (According to \u003cem>The \u003c/em>\u003cem>New York Times\u003c/em>, NARAS trustees reportedly paid the woman who accused him a $650,000 settlement, and then hired a private investigator to examine Greene’s behavior with female colleagues.) Around the same time, the \u003cem>Los Angeles Times\u003c/em> also ran an \u003ca href=\"http://articles.latimes.com/1998/feb/22/news/mn-21916\" target=\"_blank\" rel=\"noopener\">investigative series\u003c/a> examining the Recording Academy’s finances, and asserted that NARAS’ charitable arm, MusiCares, spent less than 10 percent of its fund-raised income on assisting artists.\u003c/p>\n\u003cp>Portnow — who sported a #TimesUp white rose in his lapel during this year’s telecast — made comments to \u003cem>Variety\u003c/em> that proved perhaps even more infuriating to many women. “It has to begin with … women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level,” he said. And in a phrase that became infamous immediately, Portnow added that women need “to step up because I think they would be welcome.”\u003c/p>\n\u003cp>Some prominent female musicians, like nine-time Grammy winner \u003ca href=\"https://twitter.com/SherylCrow/status/958066282959601664\" target=\"_blank\" rel=\"noopener\">Sheryl Crow\u003c/a>, three-time winner \u003ca href=\"https://twitter.com/kelly_clarkson/status/958589816714809349\" target=\"_blank\" rel=\"noopener\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://twitter.com/charli_xcx/status/958100513471447040\" target=\"_blank\" rel=\"noopener\">Charli XCX\u003c/a>, have used social media to communicate their feelings. On Jan. 30, Pink, another three-time Grammy winner who performed her ballad “Wild Hearts Can’t Be Broken” on this year’s telecast, posted a note on Twitter that spoke directly to Portnow’s “step up” comment, without addressing Portnow himself.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "958121509540761600"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Women in music don’t need to ‘step up,'” she wrote. “Women have been stepping since the beginning of time. Stepping up, and also stepping aside.”\u003c/p>\n\u003cp>On Wednesday, Portnow tried to \u003ca href=\"http://variety.com/2018/music/news/grammy-chief-neil-portnow-walks-back-step-up-comment-i-wasnt-as-articulate-as-i-should-have-been-1202681462/\" target=\"_blank\" rel=\"noopener\">walk back\u003c/a> his comment in another statement to \u003cem>Variety\u003c/em>. He claimed that the “step up” remark was taken out of context, and did not quote “convey my beliefs and the point I was trying to make.”\u003c/p>\n\u003cp>Portnow declined requests for comment by NPR, but in a statement sent to NPR and other media outlets last Thursday, he announced that the Recording Academy is setting up an independent task force to “review every aspect of what we do as an organization, and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community.”\u003c/p>\n\u003cp>I was a voting member of the Recording Academy for several years; I qualified primarily as the author of liner notes on various recording projects, though I also have reissue producer credits. I also served as a judge for the Best Album Notes award, which is one of a handful of Grammy prize categories that isn’t open to voting by the general membership, but is decided instead by a small voting committee whose ranks spread across several local NARAS chapters. \u003cstrong> \u003c/strong>And my own experience was that in my years on that committee, I was always the only woman in the room. (I haven’t been a member of the Recording Academy or a Grammy voter since 2011, when I joined NPR.)\u003c/p>\n\u003cp>My experience may not be terribly unique: A common stereotype is that the majority of Academy voters — some \u003ca href=\"https://www.billboard.com/articles/news/6288927/how-do-you-get-a-grammy\" target=\"_blank\" rel=\"noopener\">12,000 people\u003c/a> in all — are older, white men. In terms of actual statistics, it’s not at all clear \u003cem>who\u003c/em> the Grammy voters are, or how their demographic information may (or may not) incline them to vote. As a former voter, I don’t recall ever having been asked about my gender, age or race. So in the course of pursuing commentary from Portnow, I asked the Recording Academy if the organization had any demographic statistics about its membership.\u003c/p>\n\u003cp>Through a spokesperson, the Recording Academy confirmed that NARAS has never asked its members to provide that kind of data. And so its leadership simply doesn’t know the makeup of its existing membership — which will may prove to be a significant hurdle in the kinds of improvements that Portnow is pledging to make.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BehB27UHojJ"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Through a representative, Lorde declined to comment directly to NPR about her absence from the Madison Square Garden stage. On the night of the ceremony, however, she posted to Instagram a photo of a quotation from artist Jenny Holzer that she had sewn to the back of her dress, which Lorde called her “version of a white rose.”\u003c/p>\n\u003cp>A source close to the singer confirmed, though, that the only invitation Lorde received to perform on this year’s Grammy Award telecast was to be part of a group performance paying tribute to the late Tom Petty. Every other artist nominated for Album of the Year — all men, save for Lorde — was offered a chance to give a solo performance. Bruno Mars, Childish Gambino and Kendrick Lamar accepted; Jay-Z reportedly declined the invitation. (Meanwhile, the president of Lorde’s label, Republic Records, a man named Charlie Walk, was placed on leave on Jan. 31 after \u003ca href=\"https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment\" target=\"_blank\" rel=\"noopener\">three women\u003c/a> accused Walk of sexual misconduct. On Monday, Walk filed a complaint with the Manhattan district attorney’s office \u003ca href=\"https://pagesix.com/2018/02/05/charlie-walk-claims-he-was-being-extorted-before-allegations/\" target=\"_blank\" rel=\"noopener\">alleging\u003c/a> that the sexual misconduct accusations were instigated by the owner of a group of Ohio-based radio stations, who was attempting to extort Walk.)\u003c/p>\n\u003cp>In the aftermath of Portnow’s comments, some prominent female artists and industry figures have condemned him. Some are explicitly calling for Portnow to step down altogether, including singer-songwriter Vanessa Carlton, who has been nominated for three Grammy Awards, and who performed on the 2003 awards telecast. Carlton has been instrumental in publicizing a \u003ca href=\"https://www.thepetitionsite.com/602/307/220/academy-president-must-step-down-for-telling-female-musicians-to-step-up-after-grammys/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calling for Portnow’s resignation. It is not clear if those who have signed the petition, which currently has nearly 14,000 signatures, are mostly fans or individuals who work in the music industry.\u003c/p>\n\u003cp>“You have to change the system, if it’s not working,” Carlton says. “And the way that you do that is you start from the top. I would like there to be fresh blood in there — I don’t think I’m alone in that. There are nice qualities to this president, and I know he’s a nice guy. However, when you want to make changes, the leader \u003cem>has\u003c/em> to change.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "960406351431086081"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Other artists have been equally straightforward in their sentiments. On Saturday night, when Fiona Apple performed with Garbage’s Shirley Manson in Los Angeles, Apple sported a T-shirt that read: “Kneel, Portnow.”\u003c/p>\n\u003cp>On Feb. 2 — after Portnow made his initial comments and his follow-up remarks — singer-songwriter India.Arie, the four-time Grammy winner who performed at this year’s awards in the pre-telecast portion of the event, also published an \u003ca href=\"http://www.ajc.com/lifestyles/india-arie-pens-open-letter-recording-academy-president/Y6WjVWN4Vo4Yx19uxctjBL/\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to Portnow, in which she underlined issues of intersectionality and referred to inequalities in both gender and racial representation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nBRMRxkoUX8'\n title='//www.youtube.com/embed/nBRMRxkoUX8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She wrote: “Neil Portnow is mistaken. His statements are a mess, but I get why he can’t empathize with women and women of color. HE is saying, the more women there are, the more chances women have to WIN. BUT. WE NEED MORE WOMEN, more WOMEN OF COLOR AND MORE INCLUSIVE MINDED PEOPLE in positions of power, in the rooms where decisions are made. When this happens, doors will open for women to be represented in more DIVERSE WAYS. The music industry is dominated by white men and the Grammys and NARAS are run and produced by ONLY white men. The fact that Portnow says we’d ‘be welcomed’ indicates that he doesn’t think we’re part of the household to begin with.”\u003c/p>\n\u003cp>Influential women who power the business of music have also stepped forward to castigate Portnow. Over the past several days, two groups of female music industry executives wrote open letters to NARAS and to Portnow urging systemic changes to the way the Grammy Awards and the Recording Academy are structured. Last Thursday, more than 20 female industry leaders — in a group helmed by attorney Rosemary Carroll that includes Warner/Chappell vice president of publishing Katie Vinten and notable artist managers, agents and publicists such as Pharrell Williams’ manager Caron Veazey — made public a letter they wrote directed to Neil Portnow.\u003c/p>\n\u003cp>That letter, which was \u003ca href=\"http://variety.com/2018/biz/news/female-executives-call-for-grammy-chief-neil-portnows-resignation-1202684962/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> by \u003cem>Variety\u003c/em>, demands Portnow’s resignation in pointed and angry terms. In part, it reads: “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements … We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”\u003c/p>\n\u003cp>“We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.'”\u003c/p>\n\u003cp>On Monday, a group of six executives from several leading record labels — Michele Anthony, executive vice president for the Universal Music Group; Jody Gerson, chairman and CEO of Universal Music Publishing Group; Julie Greenwald, chairman and COO of Atlantic Records; Desiree Perez, COO of Roc Nation; Sylvia Rhone, president of Epic Records; and Julie Greifer Swindler, executive vice president of business affairs and general counsel for Sony Music Entertainment — wrote a letter to the Recording Academy’s board of trustees.\u003c/p>\n\u003cp>NPR has obtained this letter, which reads, in part: “We are writing to you, both on behalf of ourselves as women and on behalf of our companies, after the recent Grammy nominations, awards and telecast, as well as certain statements by your President, Neil Portnow, and the producer of the Grammys’ telecast, Ken Ehrlich. Taken together, these actions once again demonstrate that NARAS remains woefully out of touch with today’s music, the music business, and even more significantly, society …”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“NARAS, which purports to represent every area of the music ecosystem (e.g., artists, producers, songwriters, engineers) should be leaders in this evolution, and yet it has shown itself to be the opposite,” the letter continues. “We ask you, as a Board, to take this message from those who have devoted their lives to music seriously. Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview … To be clear, if NARAS seeks to reflect music’s diverse community then it must ‘step up’ and be accountable to it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+In+The+Music+Industry+Call+For+%27Evolution%27+At+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823842/women-in-the-music-industry-call-for-evolution-at-the-grammys",
"authors": [
"byline_arts_13823842"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_2798",
"arts_1448",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13823843",
"label": "arts_137"
},
"arts_13823849": {
"type": "posts",
"id": "arts_13823849",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823849",
"score": null,
"sort": [
1517982303000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1517982303,
"format": "standard",
"title": "Tarantino Says Uma Thurman's Car Stunt was 'One of the Biggest Regrets of My Life'",
"headTitle": "Tarantino Says Uma Thurman’s Car Stunt was ‘One of the Biggest Regrets of My Life’ | KQED",
"content": "\u003cp>Hollywood director Quentin Tarantino acknowledged that he is responsible for insisting that actress Uma Thurman perform a car stunt that resulted in a crash that nearly killed her 15 years ago.\u003c/p>\n\u003cp>Thurman’s \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\">account of the accident\u003c/a>, which chilled relations between Thurman and Tarantino for years, was detailed in a \u003cem>New York Times story\u003c/em> over the weekend. Much of the article centers on Thurman’s allegations that she had been sexually assaulted by movie mogul Harvey Weinstein.\u003c/p>\n\u003cp>Thurman said the accident happened in Mexico near the end of the shooting of the 2004 release \u003cem>Kill Bill Vol. 2\u003c/em> after she had expressed her reluctance to drive a blue Karmann Ghia down a sandy road. She said she had been warned that the car was not operating correctly after its manual transmission was reconfigured to an automatic. She said she wanted a stunt driver to do the shot.\u003c/p>\n\u003cp>But Tarantino insisted that she drive the car. Thurman posted footage of the crash on Instagram.\u003c/p>\n\u003cp>https://www.instagram.com/p/Be0x6OCFRwQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thurman told the \u003cem>Times \u003c/em>the crash caused permanent damage to her knees and neck.\u003c/p>\n\u003cp>Tarantino offered his version of the story in an interview with \u003ca href=\"http://deadline.com/2018/02/quentin-tarantino-uma-thurman-harvey-weinstein-kill-bill-car-crash-new-york-times-1202278988/\">Deadline Hollywood.\u003c/a>\u003c/p>\n\u003cp>Tarantino said in retrospect the road he thought was safe actually was not and he faulted himself for not doing a double-check. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see,” he said.\u003c/p>\n\u003cp>Instead, believing that the road wasn’t a problem, he convinced Thurman to drive around 30-45 mph.\u003c/p>\n\u003cblockquote>\n\u003cp>“Uma’s response was … ‘OK’ because she believed me, because she trusted me. I told her it would be OK. I told her the road was a straight line. I told her it would be safe. And it wasn’t. I was wrong. I didn’t force her into the car. She got into it because she trusted me. And she believed me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Watching the star of his movie crash was “just horrible,” Tarantino said.\u003c/p>\n\u003cblockquote>\n\u003cp>“It was heartbreaking. Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tarantino said he went back over the road later and found “a little mini S-curve” that hadn’t been clear to him earlier. He also said he had misjudged how much sand there was in the dirt road.\u003c/p>\n\u003cp>Tarantino said “a trust was broken” and he and Thurman were at odds “for the next two to three years,” before coming to terms with what had happened.\u003c/p>\n\u003cblockquote>\n\u003cp>“We had a big dinner in the Soho House in New York and there we dealt with all the car stuff, and all the resentments she had toward me. The things she felt I could have done better in protecting her in that movie. And we hashed it all out, put it behind her and we’ve been fantastic friends ever since.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>In the \u003cem>New York Times \u003c/em>article, Thurman said that Tarantino atoned for the accident by giving her what she had demanded for years — the film footage of the crash. In her Instagram post she alleges that the producers of \u003cem>Kill Bill Vol. 2\u003c/em>, including Weinstein, tried to suppress the footage. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarantino+Says+Uma+Thurman%27s+Car+Stunt+Was+%27One+Of+The+Biggest+Regrets+Of+My+Life%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 586,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705028582,
"excerpt": "The famed director responded to a \u003cem>New York Times\u003c/em> account in which Thurman alleged that she was pressured by him to drive an unsafe car on a sandy road.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The famed director responded to a New York Times account in which Thurman alleged that she was pressured by him to drive an unsafe car on a sandy road.",
"title": "Tarantino Says Uma Thurman's Car Stunt was 'One of the Biggest Regrets of My Life' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tarantino Says Uma Thurman's Car Stunt was 'One of the Biggest Regrets of My Life'",
"datePublished": "2018-02-06T21:45:03-08:00",
"dateModified": "2024-01-11T19:03:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tarantino-says-uma-thurmans-car-stunt-was-one-of-the-biggest-regrets-of-my-life",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=583850245&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Richard Gonzales",
"nprStoryDate": "Tue, 06 Feb 2018 22:36:00 -0500",
"nprLastModifiedDate": "Wed, 07 Feb 2018 00:00:06 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/02/06/583850245/tarantino-says-uma-thurman-s-car-stunt-was-one-of-the-biggest-regrets-of-my-life?ft=nprml&f=583850245",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Bertrand Langlois",
"nprStoryId": "583850245",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 07 Feb 2018 00:00:00 -0500",
"path": "/arts/13823849/tarantino-says-uma-thurmans-car-stunt-was-one-of-the-biggest-regrets-of-my-life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood director Quentin Tarantino acknowledged that he is responsible for insisting that actress Uma Thurman perform a car stunt that resulted in a crash that nearly killed her 15 years ago.\u003c/p>\n\u003cp>Thurman’s \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\">account of the accident\u003c/a>, which chilled relations between Thurman and Tarantino for years, was detailed in a \u003cem>New York Times story\u003c/em> over the weekend. Much of the article centers on Thurman’s allegations that she had been sexually assaulted by movie mogul Harvey Weinstein.\u003c/p>\n\u003cp>Thurman said the accident happened in Mexico near the end of the shooting of the 2004 release \u003cem>Kill Bill Vol. 2\u003c/em> after she had expressed her reluctance to drive a blue Karmann Ghia down a sandy road. She said she had been warned that the car was not operating correctly after its manual transmission was reconfigured to an automatic. She said she wanted a stunt driver to do the shot.\u003c/p>\n\u003cp>But Tarantino insisted that she drive the car. Thurman posted footage of the crash on Instagram.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/Be0x6OCFRwQ"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thurman told the \u003cem>Times \u003c/em>the crash caused permanent damage to her knees and neck.\u003c/p>\n\u003cp>Tarantino offered his version of the story in an interview with \u003ca href=\"http://deadline.com/2018/02/quentin-tarantino-uma-thurman-harvey-weinstein-kill-bill-car-crash-new-york-times-1202278988/\">Deadline Hollywood.\u003c/a>\u003c/p>\n\u003cp>Tarantino said in retrospect the road he thought was safe actually was not and he faulted himself for not doing a double-check. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see,” he said.\u003c/p>\n\u003cp>Instead, believing that the road wasn’t a problem, he convinced Thurman to drive around 30-45 mph.\u003c/p>\n\u003cblockquote>\n\u003cp>“Uma’s response was … ‘OK’ because she believed me, because she trusted me. I told her it would be OK. I told her the road was a straight line. I told her it would be safe. And it wasn’t. I was wrong. I didn’t force her into the car. She got into it because she trusted me. And she believed me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Watching the star of his movie crash was “just horrible,” Tarantino said.\u003c/p>\n\u003cblockquote>\n\u003cp>“It was heartbreaking. Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tarantino said he went back over the road later and found “a little mini S-curve” that hadn’t been clear to him earlier. He also said he had misjudged how much sand there was in the dirt road.\u003c/p>\n\u003cp>Tarantino said “a trust was broken” and he and Thurman were at odds “for the next two to three years,” before coming to terms with what had happened.\u003c/p>\n\u003cblockquote>\n\u003cp>“We had a big dinner in the Soho House in New York and there we dealt with all the car stuff, and all the resentments she had toward me. The things she felt I could have done better in protecting her in that movie. And we hashed it all out, put it behind her and we’ve been fantastic friends ever since.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>In the \u003cem>New York Times \u003c/em>article, Thurman said that Tarantino atoned for the accident by giving her what she had demanded for years — the film footage of the crash. In her Instagram post she alleges that the producers of \u003cem>Kill Bill Vol. 2\u003c/em>, including Weinstein, tried to suppress the footage. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarantino+Says+Uma+Thurman%27s+Car+Stunt+Was+%27One+Of+The+Biggest+Regrets+Of+My+Life%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823849/tarantino-says-uma-thurmans-car-stunt-was-one-of-the-biggest-regrets-of-my-life",
"authors": [
"byline_arts_13823849"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_2777",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13823850",
"label": "arts_137"
},
"arts_13823810": {
"type": "posts",
"id": "arts_13823810",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823810",
"score": null,
"sort": [
1517975416000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1517975416,
"format": "standard",
"title": "Best Buy to Pull CDs From its Stores, According to Report",
"headTitle": "Best Buy to Pull CDs From its Stores, According to Report | KQED",
"content": "\u003cp>Best Buy has told music suppliers that it will pull all CDs from its stores this summer, \u003ca href=\"https://www.billboard.com/articles/business/8097929/best-buy-to-pull-cds-target-threatens-to-pay-labels-for-cds-only-when\" target=\"_blank\" rel=\"noopener\">according to a report from Billboard.\u003c/a> This move should come as no big surprise: Between unlimited streaming services like Apple Music and Spotify, and the \u003ca href=\"https://www.npr.org/2018/01/26/579086880/after-the-vinyl-revival-the-vinyl-playing-jukebox-is-back\" target=\"_blank\" rel=\"noopener\">ongoing vinyl revival,\u003c/a> CDs just don’t have the sway that they used to. \u003c/p>\n\u003cp>As NPR’s Andrew Flanagan \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\" target=\"_blank\" rel=\"noopener\">has reported: \u003c/a> \u003c/p>\n\u003cblockquote>\n\u003cp>“After hitting record highs in the CD era, the global market for recorded music began shrinking dramatically in 2000. It lost 40 percent of its total value over the following 14 years, which spanned the birth of Napster and the file-sharing era, the decline of the CD and the rise and fall of the MP3. … Then came streaming — which the record industry warily, then wholeheartedly, embraced.” \u003c/p>\n\u003c/blockquote>\n\u003cp>In 2015, music streaming resulted in the first increase in the music industry’s global revenues since 1999, by $500 million. In 2016, streaming services became the primary way Americans listened to music, \u003ca href=\"http://www.nielsen.com/us/en/press-room/2017/nielsen-releases-2016-us-year-end-music-report.html?afflt=ntrt15340001&afflt_uid=LTspf2qisC0.rH9YUS58PmyaDj3AD_QEOFQ5P0_2BOoa&afflt_uid_2=AFFLT_ID_2\" target=\"_blank\" rel=\"noopener\">according to data from the Nielsen marketing research company.\u003c/a> And in 2017, as \u003ca href=\"https://www.npr.org/2017/02/28/517779766/ford-replaces-cd-player-with-streaming-music-in-new-vehicle\" target=\"_blank\" rel=\"noopener\">NPR’s Sonari Glinton reported\u003c/a>, the Ford Motor Co. rolled out its first car in 25 years without a CD player. \u003c/p>\n\u003cp>“Streaming is the fastest-growing source of music and video content and particularly with younger consumers, who we’ve found time and time again prefer streaming and subscription services over traditional forms like CDs,” Ford marketing manager Michael O’Brien told Glinton. \u003c/p>\n\u003cp>O’Brien isn’t wrong. The International Federation of the Phonographic Industry \u003ca href=\"http://www.ifpi.org/news/IFPI-GLOBAL-MUSIC-REPORT-2017\">estimates that 112 million people worldwide\u003c/a> now pay for access to streaming services and that streaming services contributed toward a 20.5 percent decline in downloads and a 7.6 percent decline in physical revenue in 2017. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Best Buy generates nearly $40 billion annually and has more than 1,500 stores throughout North America. Last year, the company eliminated nearly 400 jobs to “meet the significant and evolving tech support needs of our customers,” as it said in a letter to the state of Minnesota, \u003ca href=\"http://fortune.com/2017/07/29/best-buy-geek-squad-job-cuts/\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Fortune\u003c/em>. \u003c/a> The company told NPR that it has no comment on the \u003cem>Billboard\u003c/em> report. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Best+Buy+To+Pull+CDs+From+Its+Stores%2C+According+To+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 382,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705028584,
"excerpt": "The International Federation of the Phonographic Industry estimates that 112 million people worldwide now pay for access to streaming services.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The International Federation of the Phonographic Industry estimates that 112 million people worldwide now pay for access to streaming services.",
"title": "Best Buy to Pull CDs From its Stores, According to Report | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Best Buy to Pull CDs From its Stores, According to Report",
"datePublished": "2018-02-06T19:50:16-08:00",
"dateModified": "2024-01-11T19:03:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "best-buy-to-pull-cds-from-its-stores-according-to-report",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=583666258&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Emily Sullivan",
"nprStoryDate": "Tue, 06 Feb 2018 16:25:22 -0500",
"nprLastModifiedDate": "Tue, 06 Feb 2018 18:06:38 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/02/06/583666258/best-buy-to-pull-cds-from-its-stores-according-to-report?ft=nprml&f=583666258",
"nprImageAgency": "AP",
"nprImageCredit": "Paul Sakuma",
"nprStoryId": "583666258",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 06 Feb 2018 18:06:00 -0500",
"path": "/arts/13823810/best-buy-to-pull-cds-from-its-stores-according-to-report",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Best Buy has told music suppliers that it will pull all CDs from its stores this summer, \u003ca href=\"https://www.billboard.com/articles/business/8097929/best-buy-to-pull-cds-target-threatens-to-pay-labels-for-cds-only-when\" target=\"_blank\" rel=\"noopener\">according to a report from Billboard.\u003c/a> This move should come as no big surprise: Between unlimited streaming services like Apple Music and Spotify, and the \u003ca href=\"https://www.npr.org/2018/01/26/579086880/after-the-vinyl-revival-the-vinyl-playing-jukebox-is-back\" target=\"_blank\" rel=\"noopener\">ongoing vinyl revival,\u003c/a> CDs just don’t have the sway that they used to. \u003c/p>\n\u003cp>As NPR’s Andrew Flanagan \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\" target=\"_blank\" rel=\"noopener\">has reported: \u003c/a> \u003c/p>\n\u003cblockquote>\n\u003cp>“After hitting record highs in the CD era, the global market for recorded music began shrinking dramatically in 2000. It lost 40 percent of its total value over the following 14 years, which spanned the birth of Napster and the file-sharing era, the decline of the CD and the rise and fall of the MP3. … Then came streaming — which the record industry warily, then wholeheartedly, embraced.” \u003c/p>\n\u003c/blockquote>\n\u003cp>In 2015, music streaming resulted in the first increase in the music industry’s global revenues since 1999, by $500 million. In 2016, streaming services became the primary way Americans listened to music, \u003ca href=\"http://www.nielsen.com/us/en/press-room/2017/nielsen-releases-2016-us-year-end-music-report.html?afflt=ntrt15340001&afflt_uid=LTspf2qisC0.rH9YUS58PmyaDj3AD_QEOFQ5P0_2BOoa&afflt_uid_2=AFFLT_ID_2\" target=\"_blank\" rel=\"noopener\">according to data from the Nielsen marketing research company.\u003c/a> And in 2017, as \u003ca href=\"https://www.npr.org/2017/02/28/517779766/ford-replaces-cd-player-with-streaming-music-in-new-vehicle\" target=\"_blank\" rel=\"noopener\">NPR’s Sonari Glinton reported\u003c/a>, the Ford Motor Co. rolled out its first car in 25 years without a CD player. \u003c/p>\n\u003cp>“Streaming is the fastest-growing source of music and video content and particularly with younger consumers, who we’ve found time and time again prefer streaming and subscription services over traditional forms like CDs,” Ford marketing manager Michael O’Brien told Glinton. \u003c/p>\n\u003cp>O’Brien isn’t wrong. The International Federation of the Phonographic Industry \u003ca href=\"http://www.ifpi.org/news/IFPI-GLOBAL-MUSIC-REPORT-2017\">estimates that 112 million people worldwide\u003c/a> now pay for access to streaming services and that streaming services contributed toward a 20.5 percent decline in downloads and a 7.6 percent decline in physical revenue in 2017. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Best Buy generates nearly $40 billion annually and has more than 1,500 stores throughout North America. Last year, the company eliminated nearly 400 jobs to “meet the significant and evolving tech support needs of our customers,” as it said in a letter to the state of Minnesota, \u003ca href=\"http://fortune.com/2017/07/29/best-buy-geek-squad-job-cuts/\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Fortune\u003c/em>. \u003c/a> The company told NPR that it has no comment on the \u003cem>Billboard\u003c/em> report. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Best+Buy+To+Pull+CDs+From+Its+Stores%2C+According+To+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823810/best-buy-to-pull-cds-from-its-stores-according-to-report",
"authors": [
"byline_arts_13823810"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13823841",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 1812,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3756,
"relation": "eq"
},
"items": [
"arts_13824229",
"arts_13824061",
"arts_13824126",
"arts_13824093",
"arts_13824047",
"arts_13824005",
"arts_13823971",
"arts_13823865",
"arts_13823908",
"arts_13823842",
"arts_13823849",
"arts_13823810"
],
"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_news": {
"isLoading": true
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_3675": {
"type": "terms",
"id": "arts_3675",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3675",
"found": true
},
"relationships": {},
"featImg": null,
"name": "barack obama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "barack obama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3687,
"slug": "barack-obama",
"isLoading": false,
"link": "/arts/tag/barack-obama"
},
"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_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1255": {
"type": "terms",
"id": "arts_1255",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1255",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1267,
"slug": "feature-ntv",
"isLoading": false,
"link": "/arts/tag/feature-ntv"
},
"arts_1315": {
"type": "terms",
"id": "arts_1315",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1315",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Palo Alto",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Palo Alto Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1327,
"slug": "palo-alto",
"isLoading": false,
"link": "/arts/tag/palo-alto"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_2836": {
"type": "terms",
"id": "arts_2836",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2836",
"found": true
},
"relationships": {},
"featImg": null,
"name": "death",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "death Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2848,
"slug": "death",
"isLoading": false,
"link": "/arts/tag/death"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_1028": {
"type": "terms",
"id": "arts_1028",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1028",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Santa Cruz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Santa Cruz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1045,
"slug": "santa-cruz",
"isLoading": false,
"link": "/arts/tag/santa-cruz"
},
"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_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_1845": {
"type": "terms",
"id": "arts_1845",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1845",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grateful Dead",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grateful Dead Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1857,
"slug": "grateful-dead",
"isLoading": false,
"link": "/arts/tag/grateful-dead"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_3875": {
"type": "terms",
"id": "arts_3875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Goldenvoice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Goldenvoice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3887,
"slug": "goldenvoice",
"isLoading": false,
"link": "/arts/tag/goldenvoice"
},
"arts_3874": {
"type": "terms",
"id": "arts_3874",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3874",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kink.com",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kink.com Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3886,
"slug": "kink-com",
"isLoading": false,
"link": "/arts/tag/kink-com"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_2777": {
"type": "terms",
"id": "arts_2777",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2777",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harvey Weinstein",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harvey Weinstein Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2789,
"slug": "harvey-weinstein",
"isLoading": false,
"link": "/arts/tag/harvey-weinstein"
}
},
"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
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}