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_12123104": {
"type": "attachments",
"id": "arts_12123104",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12123104",
"found": true
},
"parent": 12123103,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19.jpg",
"width": 1106,
"height": 622
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-52026279_wide-5ad1f2d7e14bb11d4d134c84042e4cf6e0732f19-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474936853,
"modified": 1474936853,
"caption": null,
"description": "Frank Sinatra and then-presidential candidate John F. Kennedy in February 1960.",
"title": "Frank Sinatra and then-presidential candidate John F. Kennedy in February 1960.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12121764": {
"type": "attachments",
"id": "arts_12121764",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12121764",
"found": true
},
"parent": 12121760,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Rolling-Stone-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474912341,
"modified": 1474912426,
"caption": "A vendor pulls out one of the Rolling Stone magazine on sale in Singapore on September 26, 2016. ",
"description": "A vendor pulls out one of the Rolling Stone magazine on sale in Singapore on September 26, 2016. ",
"title": "SINGAPORE-US-ENTERTAINMENT-MAGAZINE-MUSIC",
"credit": "Photo: Roslan Rahman/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11100663": {
"type": "attachments",
"id": "news_11100663",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11100663",
"found": true
},
"parent": 11100646,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS21203_Valdez-by-Sergio-Estrada-Milagro-Marketing-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474666375,
"modified": 1474678637,
"caption": "Luis Valdez, the founding artistic director of Teatro Campesino.",
"description": null,
"title": "RS21203_Valdez by Sergio Estrada, Milagro Marketing-qut",
"credit": "Sergio Estrada/Milagro Marketing",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12109685": {
"type": "attachments",
"id": "arts_12109685",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12109685",
"found": true
},
"parent": 12109684,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad.jpg",
"width": 3984,
"height": 2241
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lovers-and-the-despot_wide-a8b3e12d6f20de3112f2213a9805dfab63abe8ad-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474673834,
"modified": 1474673834,
"caption": null,
"description": "\u003cstrong>Not So Lonely Anymore:\u003c/strong> (from left) Kim Jong Il, Choi Eun Hee and Shin Sang Ok in \u003cem>The Lovers and the Despot\u003c/em>.",
"title": "Not So Lonely Anymore: (from left) Kim Jong Il, Choi Eun Hee and Shin Sang Ok in The Lovers and the Despot.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12104406": {
"type": "attachments",
"id": "arts_12104406",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12104406",
"found": true
},
"parent": 12104402,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire.jpg",
"width": 3000,
"height": 2000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/The-Shipment-Cast-at-Crowded-Fire-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474573893,
"modified": 1474574049,
"caption": "The cast of Young Jean Lee's The Shipment (left-right) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechi Emeruwa, and Michael Wayne Turner III",
"description": "The cast of Young Jean Lee's The Shipment (left-right) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechi Emeruwa, and Michael Wayne Turner III",
"title": "The cast of Young Jean Lee's The Shipment (left-right) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechi Emeruwa, and Michael Wayne Turner III",
"credit": " Photo: Pak Han/Crowded Fire",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12104802": {
"type": "attachments",
"id": "arts_12104802",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12104802",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-1024x576.png",
"width": 1024,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-400x225.png",
"width": 400,
"mimeType": "image/png",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-960x540.png",
"width": 960,
"mimeType": "image/png",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1.png",
"width": 1024,
"height": 576
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/macarthur-1-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1474580329,
"modified": 1474580492,
"caption": "2016 MacArthur Fellows Maggie Nelson, Vincent Fecteau and Gene Luen Yang. ",
"description": "2016 MacArthur Fellows Maggie Nelson, Vincent Fecteau and Gene Luen Yang. ",
"title": "2016 MacArthur Fellows Maggie Nelson, Vincent Fecteau and Gene Luen Yang.",
"credit": "Courtesy of John D. & Catherine T. MacArthur Foundation.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12097178": {
"type": "attachments",
"id": "arts_12097178",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12097178",
"found": true
},
"parent": 12096988,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315.jpg",
"width": 4023,
"height": 2263
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/MCC-2007.014-e1474435819315-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474435474,
"modified": 1474437096,
"caption": "Mission Control Center in Tom Sachs' 'Space Program: Europa' at YBCA.",
"description": "Mission Control Center in Tom Sachs' 'Space Program: Europa' at YBCA.",
"title": "MCC 2007.014",
"credit": "Photo: Josh White",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"bayareabites_112171": {
"type": "attachments",
"id": "bayareabites_112171",
"meta": {
"index": "attachments_1716263798",
"site": "bayareabites",
"id": "112171",
"found": true
},
"parent": 112170,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a.jpg",
"width": 2000,
"height": 1334
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-1440x960.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 960
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"cat_post_thumb_sizecategory-posts-2": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/24/2016/09/friedchicken_enl-cab9974419895321b382d3f1588ed2d4b6f5472a-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474563471,
"modified": 1474563594,
"caption": "The First American Fried Chicken restaurant in Elizabeth, N.J. The restaurant saw its Yelp reviews plummet after the owner's son, Ahmad Khan Rahami, was arrested as a suspect in this month's bombings in New York and New Jersey.",
"description": "The First American Fried Chicken restaurant in Elizabeth, N.J. The restaurant saw its Yelp reviews plummet after the owner's son, Ahmad Khan Rahami, was arrested as a suspect in this month's bombings in New York and New Jersey.",
"title": "The First American Fried Chicken restaurant in Elizabeth, N.J. The restaurant saw its Yelp reviews plummet after the owner's son, Ahmad Khan Rahami, was arrested as a suspect in this month's bombings in New York and New Jersey.",
"credit": "Mel Evans/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12100592": {
"type": "attachments",
"id": "arts_12100592",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12100592",
"found": true
},
"parent": 12100395,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Dermont-Pinder-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474500914,
"modified": 1474500992,
"caption": "Demont Pinder poses with his painting at Google 4 NMAAHC celebrating the opening of the National Museum of African American History and Culture ",
"description": "Demont Pinder poses with his painting at Google 4 NMAAHC celebrating the opening of the National Museum of African American History and Culture ",
"title": "Google 4 NMAAHC",
"credit": "Photo: Teresa Kroeger/Getty Images for Google",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12095285": {
"type": "attachments",
"id": "arts_12095285",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12095285",
"found": true
},
"parent": 12095101,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tom-Waits-2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474401059,
"modified": 1474401131,
"caption": "Tom Waits performs onstage at the 26th annual Rock and Roll Hall of Fame Induction Ceremony ",
"description": "Tom Waits performs onstage at the 26th annual Rock and Roll Hall of Fame Induction Ceremony ",
"title": "26th Annual Rock And Roll Hall Of Fame Induction Ceremony - Show",
"credit": "Photo: Michael Loccisano/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12090686": {
"type": "attachments",
"id": "arts_12090686",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12090686",
"found": true
},
"parent": 12090685,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182.jpg",
"width": 2664,
"height": 1498
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-605724752-77218d84ef6771d68ca2c2f1abbf27c012f77a9b-e1474309766182-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474309334,
"modified": 1474309730,
"caption": "An Emmy statuette stands at a press conference before the 68th annual Emmys.",
"description": "An Emmy statuette stands at a press conference before the 68th annual Emmys.",
"title": "An Emmy statuette stands at a press conference before the 68th annual Emmys.",
"credit": "Photo: Gabriel Olsen/FilmMagic/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_37705": {
"type": "attachments",
"id": "pop_37705",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "37705",
"found": true
},
"parent": 37696,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85.jpg",
"width": 800,
"height": 449
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/09/ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474321148,
"modified": 1474321182,
"caption": "Julia Louis-Dreyfus",
"description": null,
"title": "ap_768759943498_wide-a6699ae81447e328ff454a13467b8f325f49b875-s800-c85",
"credit": "Phil McCarten/Invision for the Television Academy via NPR",
"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_12123103": {
"type": "authors",
"id": "byline_arts_12123103",
"meta": {
"override": true
},
"slug": "byline_arts_12123103",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_12121760": {
"type": "authors",
"id": "byline_arts_12121760",
"meta": {
"override": true
},
"slug": "byline_arts_12121760",
"name": "Jim Zarroli",
"isLoading": false
},
"byline_arts_12109684": {
"type": "authors",
"id": "byline_arts_12109684",
"meta": {
"override": true
},
"slug": "byline_arts_12109684",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_bayareabites_112170": {
"type": "authors",
"id": "byline_bayareabites_112170",
"meta": {
"override": true
},
"slug": "byline_bayareabites_112170",
"name": "Tove Danovich, \u003ca href=\"https://ww2.kqed.org/bayareabites/author/nprfood/\">NPR Food\u003c/a>",
"isLoading": false
},
"byline_arts_12100395": {
"type": "authors",
"id": "byline_arts_12100395",
"meta": {
"override": true
},
"slug": "byline_arts_12100395",
"name": "Errin Haines Whack, Associated Press",
"isLoading": false
},
"byline_arts_12095101": {
"type": "authors",
"id": "byline_arts_12095101",
"meta": {
"override": true
},
"slug": "byline_arts_12095101",
"name": "Philip Marcelo, Associated Press",
"isLoading": false
},
"byline_arts_12090685": {
"type": "authors",
"id": "byline_arts_12090685",
"meta": {
"override": true
},
"slug": "byline_arts_12090685",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_pop_37696": {
"type": "authors",
"id": "byline_pop_37696",
"meta": {
"override": true
},
"slug": "byline_pop_37696",
"name": "Amita Kelly",
"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"
},
"sasha-khokha": {
"type": "authors",
"id": "254",
"meta": {
"index": "authors_1716337520",
"id": "254",
"found": true
},
"name": "Sasha Khokha",
"firstName": "Sasha",
"lastName": "Khokha",
"slug": "sasha-khokha",
"email": "skhokha@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Host, The California Report Magazine",
"bio": "Sasha Khokha is the host of \u003cem>The California Report's \u003c/em> weekly magazine program, which takes listeners on sound-rich excursions to meet the people that make the Golden State unique -- through audio documentaries and long-form stories. As \u003cem>The California Report's\u003c/em> Central Valley Bureau Chief based in Fresno for nearly a dozen years, Sasha brought the lives and concerns of rural Californians to listeners around the state. Her reporting helped expose the hidden price immigrant women janitors and farmworkers may pay to keep their jobs: sexual assault at work. It inspired two new California laws to protect them from sexual harassment. She was a key member of the reporting team for the Frontline film \u003cem>Rape on the Night Shift, \u003c/em>which was nominated for two national Emmys. Sasha has also won a national Edward R. Murrow and a national PRNDI award for investigative reporting, as well as multiple prizes from the Society for Professional Journalists. Sasha is a proud alum of the UC Berkeley Graduate School of Journalism and Brown University and a member of the South Asian Journalists Association.",
"avatar": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twitter": "KQEDSashaKhokha",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sasha Khokha | KQED",
"description": "Host, The California Report Magazine",
"ogImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sasha-khokha"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
},
"crnoveno": {
"type": "authors",
"id": "11208",
"meta": {
"index": "authors_1716337520",
"id": "11208",
"found": true
},
"name": "Creo Noveno",
"firstName": "Creo",
"lastName": "Noveno",
"slug": "crnoveno",
"email": "creonoveno@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Creo Noveno | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/crnoveno"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.810465
},
"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": 226
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 226
}
},
{
"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_12123103": {
"type": "posts",
"id": "arts_12123103",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12123103",
"score": null,
"sort": [
1474988459000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1474988459,
"format": "standard",
"title": "The Long, Strange History of Campaign Endorsement Songs",
"headTitle": "The Long, Strange History of Campaign Endorsement Songs | KQED",
"content": "\u003cp>The political endorsement song is a strange beast. It’s something more than just a campaign anthem — the kind of track that pumps up rally audiences before a candidate’s entrance onstage. Instead, this kind of tune is an odd hybrid: part commercial jingle, part aspirational anthem and, with nearly no exceptions, a soon-forgotten novelty. (One outlier: the sturdy Whig song “Tippecanoe and Tyler Too” from the 1840 presidential campaign, which was most recently resurrected by \u003ca href=\"https://www.youtube.com/watch?v=IFaRklAYanY\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> in 2004.)\u003c/p>\n\u003cp>Certain politicians undoubtedly find it easier than others to get star singers and songwriters to pen and perform original tunes for them. Occasionally, the candidate just has to fall back on pre-existing material, as Mitt Romney did. And sometimes, candidates wind up with old songs reworked for political ends — like the unmistakably buoyant “High Hopes,” with new lyrics that celebrated JFK in 1960.\u003c/p>\n\u003cp>But some of the most interesting selections from U.S. history are the more singular ones. “Nixon’s The One,” anyone? How about a funk-drenched paean to Jimmy Carter? In any case, with the first presidential debate of 2016 happening this evening, we wanted to revisit some of our favorite endorsement-song finds.\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=lHRTCVwSKMs\u003c/p>\n\u003ch3>Frank Sinatra, “High Hopes”\u003c/h3>\n\u003cp>The 1959 Frank Capra film \u003ca href=\"http://www.tcm.com/mediaroom/video/196092/Hole-In-The-Head-A-Original-Trailer-.html\" target=\"_blank\" rel=\"noopener\">\u003cem>A Hole in the Head\u003c/em>\u003c/a> is a strange time capsule — not least because its premise is that Miami’s South Beach is so slow-moving that a theme park could be plopped down there. Its most enduring aspect is the Oscar-winning song “\u003ca href=\"http://www.tcm.com/mediaroom/video/198770/Hole-in-the-Head-A-Movie-Clip-High-Hopes.html\" target=\"_blank\" rel=\"noopener\">High Hopes\u003c/a>,” which leading man Frank Sinatra and songwriters Sammy Cahn and \u003ca href=\"https://www.youtube.com/watch?v=XREVcBhQ1xE\" target=\"_blank\" rel=\"noopener\">Jimmy Van Heusen adapted\u003c/a> for John F. Kennedy’s 1960 campaign. JFK also had a more \u003ca href=\"https://www.youtube.com/watch?v=7DoUiNxh6_0\" target=\"_blank\" rel=\"noopener\">traditional jingle\u003c/a>, but the star power and extreme catchiness of “High Hopes” made it unforgettable: “Come on and vote for Kennedy … and we’ll come out on top! Oops, there goes the opposition — kerplop!” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=qKMvvPQU38U\u003c/p>\n\u003ch3>Connie Francis, “Nixon’s The One”\u003c/h3>\n\u003cp>With lyrics by Alvin Cooperman and music by Moose Charlap — the composer of the Broadway musical \u003cem>Peter Pan\u003c/em> and father of jazz pianist \u003ca href=\"http://www.npr.org/artists/15343365/bill-charlap\">Bill Charlap\u003c/a> — “Nixon’s The One” bears a peppy, upbeat and thoroughly wholesome, big band-backed message for the 1968 campaign. The Nixon/Humphrey race took place in the same year as the assassinations of Martin Luther King, Jr. and Robert Kennedy, civil rights protests, urban unrest and rioting, and during polarizing debate about the Vietnam War. But this sunny endorsement song was, culturally and sonically, a throwback to an earlier era — a perfect fit for Nixon as the law-and-order candidate for voters longing for an age already long gone: “Can do / Americans can do / with the man who knows how to / Yes, Nixon’s the one to go with!” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=kWF9qZb6y64\u003c/p>\n\u003ch3>Gene Marshall, “Jimmy Carter Says ‘Yes'”\u003c/h3>\n\u003cp>After the Bicentennial frenzy of 1976, the most memorable musical moments of the presidential campaign may have been the benefits that the Allman Brothers Band \u003ca href=\"http://www.rollingstone.com/politics/news/candidate-jimmy-carter-rocks-good-ol-boy-19751204\" target=\"_blank\" rel=\"noopener\">played\u003c/a> for Jimmy Carter, the governor of their adopted home state. (Next to “Midnight Rider” and “Whipping Post,” Gerald Ford’s \u003ca href=\"https://www.youtube.com/watch?v=N9SVr4uTtFo\" target=\"_blank\" rel=\"noopener\">Up With People-style jingle\u003c/a> was bound to sound especially bland.) But one of the most entertaining artifacts of the era is this pro-am slow jam about Carter’s upstanding nature. “Jimmy Carter Says ‘Yes'” is a “song-poem” — a song cranked out by studio musicians from words mailed in by an aspiring lyricist willing to pay a modest fee. Carter may have received more elaborate \u003ca href=\"https://www.youtube.com/watch?v=UwEUCMrI2aQ\" target=\"_blank\" rel=\"noopener\">musical tributes\u003c/a>, but none as charmingly funky: “Can our government be competent? Jimmy Carter says, ‘Yes!'” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=qmKgITJejfg\u003c/p>\n\u003ch3>John Rich, “Raisin’ McCain”\u003c/h3>\n\u003cp>Music touting failed candidates can take on retroactive wistfulness. Sometimes, it’s as modest as the \u003ca href=\"https://www.youtube.com/watch?v=cLvNm7j-L2U\" target=\"_blank\" rel=\"noopener\">cabaret number\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=MxYDTTNYMic\" target=\"_blank\" rel=\"noopener\">Christmas carol adaptation\u003c/a> from the 1952 Adlai Stevenson campaign. Other times, it’s as grand as \u003ca href=\"https://www.c-span.org/video/?c4453714/john-williams-fanfare-michael-dukakis\" target=\"_blank\" rel=\"noopener\">John Williams’ fanfare\u003c/a> for 1988 Democratic nominee Michael Dukakis. The 2008 video for “Raisin’ McCain” by John Rich of Big & Rich is a straightforward country rocker — featuring an “American guitar” solo — that manages to weave in the Republican nominee’s time as a prisoner of war as women in the crowd dance enthusiastically: “Well, he got shot down in a Vietnam town, fighting for the red, white and blue / And they locked him up in the Hanoi Hilton, thinking they could break him in two…” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=bu3rsha1ZtI\u003c/p>\n\u003ch3>Kid Rock, “Born Free”\u003c/h3>\n\u003cp>While Kid Rock didn’t write the anthemic “Born Free” explicitly for Mitt Romney, he was happy to let the GOP use it as their 2012 song for the former Massachusetts governor. “I was like, ‘Yeah, go ahead,'” the singer \u003ca href=\"http://www.mtv.com/news/1695488/kid-rock-mitt-romney-born-free/\" target=\"_blank\" rel=\"noopener\">told MTV\u003c/a> that year. “I make music to have people hear it, and I’m not about to dictate at what level they want to listen or hear it at; that doesn’t matter to me. I mean, yeah, I’m a little right-wing, you know, I’m going to vote for Mitt Romney … but if you’re not, it’s OK.” According to an interview Mitt and Ann Romney gave to \u003cem>\u003ca href=\"http://parade.com/124656/lynnsherr/26-conversation-with-the-romneys/\" target=\"_blank\" rel=\"noopener\">Parade\u003c/a>\u003c/em> magazine that August, their personal tastes in music generally ran a little more old-school, to the likes of The Beach Boys, Alabama and The Eagles, with one contemporary curveball: The Killers. But Kid Rock’s song reflected bedrock Americana: “Deep, like the grandest canyon / Wild, like an untamed stallion / If you can’t see my heart, you must be blind.” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=KWqn0VORmvU\u003c/p>\n\u003ch3>Vicente Fernández, “El Corrido de Hillary Clinton”\u003c/h3>\n\u003cp>Just last week, one of Mexico’s most beloved artists, the \u003cem>ranchero\u003c/em> legend \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul\" target=\"_blank\" rel=\"noopener\">Vicente Fernández\u003c/a>, released a \u003cem>corrido (\u003c/em>narrative song) urging his fans to vote for Hillary Clinton. Fernández doesn’t name-check Donald Trump in his tune, which he released via the PAC Latino Victory Project, nor does he directly address Trump’s platforms on such topics as immigration, jobs or trade. But he also doesn’t shy away from tossing some obvious shade Trump’s way: “My freedom, my rights, are respected with Hillary,” Fernández sings. “With her as president, we always have a bridge.” —\u003cem>Anastasia Tsioulcas\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Long%2C+Strange+History+Of+Campaign+Endorsement+Songs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1186,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705032937,
"excerpt": "From \"Nixon's The One\" To \"El Corrido de Hillary Clinton,\" an odd subgenre of music raises its head every four years: the endorsement song. It's part commercial jingle, part aspirational anthem.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "From "Nixon's The One" To "El Corrido de Hillary Clinton," an odd subgenre of music raises its head every four years: the endorsement song. It's part commercial jingle, part aspirational anthem.",
"title": "The Long, Strange History of Campaign Endorsement Songs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Long, Strange History of Campaign Endorsement Songs",
"datePublished": "2016-09-27T08:00:59-07:00",
"dateModified": "2024-01-11T20:15:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-long-strange-history-of-campaign-endorsement-songs",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=495458499&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Mon, 26 Sep 2016 13:28:00 -0400",
"nprLastModifiedDate": "Mon, 26 Sep 2016 13:31:12 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/allsongs/2016/09/26/495458499/the-long-strange-history-of-campaign-endorsement-songs?ft=nprml&f=495458499",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "AFP",
"nprStoryId": "495458499",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 26 Sep 2016 13:31:00 -0400",
"path": "/arts/12123103/the-long-strange-history-of-campaign-endorsement-songs",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The political endorsement song is a strange beast. It’s something more than just a campaign anthem — the kind of track that pumps up rally audiences before a candidate’s entrance onstage. Instead, this kind of tune is an odd hybrid: part commercial jingle, part aspirational anthem and, with nearly no exceptions, a soon-forgotten novelty. (One outlier: the sturdy Whig song “Tippecanoe and Tyler Too” from the 1840 presidential campaign, which was most recently resurrected by \u003ca href=\"https://www.youtube.com/watch?v=IFaRklAYanY\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> in 2004.)\u003c/p>\n\u003cp>Certain politicians undoubtedly find it easier than others to get star singers and songwriters to pen and perform original tunes for them. Occasionally, the candidate just has to fall back on pre-existing material, as Mitt Romney did. And sometimes, candidates wind up with old songs reworked for political ends — like the unmistakably buoyant “High Hopes,” with new lyrics that celebrated JFK in 1960.\u003c/p>\n\u003cp>But some of the most interesting selections from U.S. history are the more singular ones. “Nixon’s The One,” anyone? How about a funk-drenched paean to Jimmy Carter? In any case, with the first presidential debate of 2016 happening this evening, we wanted to revisit some of our favorite endorsement-song finds.\u003c/p>\n\u003chr>\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/lHRTCVwSKMs'\n title='//www.youtube.com/embed/lHRTCVwSKMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Frank Sinatra, “High Hopes”\u003c/h3>\n\u003cp>The 1959 Frank Capra film \u003ca href=\"http://www.tcm.com/mediaroom/video/196092/Hole-In-The-Head-A-Original-Trailer-.html\" target=\"_blank\" rel=\"noopener\">\u003cem>A Hole in the Head\u003c/em>\u003c/a> is a strange time capsule — not least because its premise is that Miami’s South Beach is so slow-moving that a theme park could be plopped down there. Its most enduring aspect is the Oscar-winning song “\u003ca href=\"http://www.tcm.com/mediaroom/video/198770/Hole-in-the-Head-A-Movie-Clip-High-Hopes.html\" target=\"_blank\" rel=\"noopener\">High Hopes\u003c/a>,” which leading man Frank Sinatra and songwriters Sammy Cahn and \u003ca href=\"https://www.youtube.com/watch?v=XREVcBhQ1xE\" target=\"_blank\" rel=\"noopener\">Jimmy Van Heusen adapted\u003c/a> for John F. Kennedy’s 1960 campaign. JFK also had a more \u003ca href=\"https://www.youtube.com/watch?v=7DoUiNxh6_0\" target=\"_blank\" rel=\"noopener\">traditional jingle\u003c/a>, but the star power and extreme catchiness of “High Hopes” made it unforgettable: “Come on and vote for Kennedy … and we’ll come out on top! Oops, there goes the opposition — kerplop!” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/qKMvvPQU38U'\n title='//www.youtube.com/embed/qKMvvPQU38U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Connie Francis, “Nixon’s The One”\u003c/h3>\n\u003cp>With lyrics by Alvin Cooperman and music by Moose Charlap — the composer of the Broadway musical \u003cem>Peter Pan\u003c/em> and father of jazz pianist \u003ca href=\"http://www.npr.org/artists/15343365/bill-charlap\">Bill Charlap\u003c/a> — “Nixon’s The One” bears a peppy, upbeat and thoroughly wholesome, big band-backed message for the 1968 campaign. The Nixon/Humphrey race took place in the same year as the assassinations of Martin Luther King, Jr. and Robert Kennedy, civil rights protests, urban unrest and rioting, and during polarizing debate about the Vietnam War. But this sunny endorsement song was, culturally and sonically, a throwback to an earlier era — a perfect fit for Nixon as the law-and-order candidate for voters longing for an age already long gone: “Can do / Americans can do / with the man who knows how to / Yes, Nixon’s the one to go with!” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\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/kWF9qZb6y64'\n title='//www.youtube.com/embed/kWF9qZb6y64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Gene Marshall, “Jimmy Carter Says ‘Yes'”\u003c/h3>\n\u003cp>After the Bicentennial frenzy of 1976, the most memorable musical moments of the presidential campaign may have been the benefits that the Allman Brothers Band \u003ca href=\"http://www.rollingstone.com/politics/news/candidate-jimmy-carter-rocks-good-ol-boy-19751204\" target=\"_blank\" rel=\"noopener\">played\u003c/a> for Jimmy Carter, the governor of their adopted home state. (Next to “Midnight Rider” and “Whipping Post,” Gerald Ford’s \u003ca href=\"https://www.youtube.com/watch?v=N9SVr4uTtFo\" target=\"_blank\" rel=\"noopener\">Up With People-style jingle\u003c/a> was bound to sound especially bland.) But one of the most entertaining artifacts of the era is this pro-am slow jam about Carter’s upstanding nature. “Jimmy Carter Says ‘Yes'” is a “song-poem” — a song cranked out by studio musicians from words mailed in by an aspiring lyricist willing to pay a modest fee. Carter may have received more elaborate \u003ca href=\"https://www.youtube.com/watch?v=UwEUCMrI2aQ\" target=\"_blank\" rel=\"noopener\">musical tributes\u003c/a>, but none as charmingly funky: “Can our government be competent? Jimmy Carter says, ‘Yes!'” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/qmKgITJejfg'\n title='//www.youtube.com/embed/qmKgITJejfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>John Rich, “Raisin’ McCain”\u003c/h3>\n\u003cp>Music touting failed candidates can take on retroactive wistfulness. Sometimes, it’s as modest as the \u003ca href=\"https://www.youtube.com/watch?v=cLvNm7j-L2U\" target=\"_blank\" rel=\"noopener\">cabaret number\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=MxYDTTNYMic\" target=\"_blank\" rel=\"noopener\">Christmas carol adaptation\u003c/a> from the 1952 Adlai Stevenson campaign. Other times, it’s as grand as \u003ca href=\"https://www.c-span.org/video/?c4453714/john-williams-fanfare-michael-dukakis\" target=\"_blank\" rel=\"noopener\">John Williams’ fanfare\u003c/a> for 1988 Democratic nominee Michael Dukakis. The 2008 video for “Raisin’ McCain” by John Rich of Big & Rich is a straightforward country rocker — featuring an “American guitar” solo — that manages to weave in the Republican nominee’s time as a prisoner of war as women in the crowd dance enthusiastically: “Well, he got shot down in a Vietnam town, fighting for the red, white and blue / And they locked him up in the Hanoi Hilton, thinking they could break him in two…” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/bu3rsha1ZtI'\n title='//www.youtube.com/embed/bu3rsha1ZtI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kid Rock, “Born Free”\u003c/h3>\n\u003cp>While Kid Rock didn’t write the anthemic “Born Free” explicitly for Mitt Romney, he was happy to let the GOP use it as their 2012 song for the former Massachusetts governor. “I was like, ‘Yeah, go ahead,'” the singer \u003ca href=\"http://www.mtv.com/news/1695488/kid-rock-mitt-romney-born-free/\" target=\"_blank\" rel=\"noopener\">told MTV\u003c/a> that year. “I make music to have people hear it, and I’m not about to dictate at what level they want to listen or hear it at; that doesn’t matter to me. I mean, yeah, I’m a little right-wing, you know, I’m going to vote for Mitt Romney … but if you’re not, it’s OK.” According to an interview Mitt and Ann Romney gave to \u003cem>\u003ca href=\"http://parade.com/124656/lynnsherr/26-conversation-with-the-romneys/\" target=\"_blank\" rel=\"noopener\">Parade\u003c/a>\u003c/em> magazine that August, their personal tastes in music generally ran a little more old-school, to the likes of The Beach Boys, Alabama and The Eagles, with one contemporary curveball: The Killers. But Kid Rock’s song reflected bedrock Americana: “Deep, like the grandest canyon / Wild, like an untamed stallion / If you can’t see my heart, you must be blind.” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\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/KWqn0VORmvU'\n title='//www.youtube.com/embed/KWqn0VORmvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Vicente Fernández, “El Corrido de Hillary Clinton”\u003c/h3>\n\u003cp>Just last week, one of Mexico’s most beloved artists, the \u003cem>ranchero\u003c/em> legend \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul\" target=\"_blank\" rel=\"noopener\">Vicente Fernández\u003c/a>, released a \u003cem>corrido (\u003c/em>narrative song) urging his fans to vote for Hillary Clinton. Fernández doesn’t name-check Donald Trump in his tune, which he released via the PAC Latino Victory Project, nor does he directly address Trump’s platforms on such topics as immigration, jobs or trade. But he also doesn’t shy away from tossing some obvious shade Trump’s way: “My freedom, my rights, are respected with Hillary,” Fernández sings. “With her as president, we always have a bridge.” —\u003cem>Anastasia Tsioulcas\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Long%2C+Strange+History+Of+Campaign+Endorsement+Songs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12123103/the-long-strange-history-of-campaign-endorsement-songs",
"authors": [
"byline_arts_12123103"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12123104",
"label": "arts_137"
},
"arts_12121760": {
"type": "posts",
"id": "arts_12121760",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12121760",
"score": null,
"sort": [
1474912937000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1474912937,
"format": "standard",
"title": "'Rolling Stone' Sells Minority Share of Magazine to Singapore Entrepreneur",
"headTitle": "‘Rolling Stone’ Sells Minority Share of Magazine to Singapore Entrepreneur | KQED",
"content": "\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 452,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705032941,
"excerpt": "It's the first time Jann Wenner has allowed an outside investor to buy a part of the fabled magazine he founded in 1967.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's the first time Jann Wenner has allowed an outside investor to buy a part of the fabled magazine he founded in 1967.",
"title": "'Rolling Stone' Sells Minority Share of Magazine to Singapore Entrepreneur | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Rolling Stone' Sells Minority Share of Magazine to Singapore Entrepreneur",
"datePublished": "2016-09-26T11:02:17-07:00",
"dateModified": "2024-01-11T20:15:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "rolling-stone-sells-minority-share-of-magazine-to-singapore-entrepreneur",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=495386067&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Jim Zarroli",
"nprStoryDate": "Sun, 25 Sep 2016 16:22:00 -0400",
"nprLastModifiedDate": "Sun, 25 Sep 2016 16:21:23 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/09/25/495386067/rolling-stone-sells-minority-share-of-magazine-to-singapore-entrepreneur?ft=nprml&f=495386067",
"nprStoryId": "495386067",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 25 Sep 2016 16:21:00 -0400",
"path": "/arts/12121760/rolling-stone-sells-minority-share-of-magazine-to-singapore-entrepreneur",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12121760/rolling-stone-sells-minority-share-of-magazine-to-singapore-entrepreneur",
"authors": [
"byline_arts_12121760"
],
"categories": [
"arts_74",
"arts_69",
"arts_235",
"arts_75",
"arts_990"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12121764",
"label": "arts_137"
},
"news_11100646": {
"type": "posts",
"id": "news_11100646",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11100646",
"score": null,
"sort": [
1474910291000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1474910291,
"format": "standard",
"disqusTitle": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"title": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/284755246\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O8QqiJesJwY\u003c/p>\n\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\u003c/p>\n\u003cp>https://youtu.be/z4EEuupp_eY?t=31s\u003c/p>\n\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "11100646 http://ww2.kqed.org/news/?p=11100646",
"disqusUrl": "https://ww2.kqed.org/news/2016/09/26/californias-godfather-of-chicano-theater-wins-national-medal-of-arts/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1000,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1474910291,
"excerpt": "Luis Valdez, writer and director of “Zoot Suit” and \"La Bamba,” was honored for his 50-year career of bringing Latino culture to the American stage and screen.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Luis Valdez, writer and director of “Zoot Suit” and "La Bamba,” was honored for his 50-year career of bringing Latino culture to the American stage and screen.",
"title": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"datePublished": "2016-09-26T10:18:11-07:00",
"dateModified": "2016-09-26T10:18:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "californias-godfather-of-chicano-theater-wins-national-medal-of-arts",
"status": "publish",
"nprStoryId": "495495720",
"path": "/news/11100646/californias-godfather-of-chicano-theater-wins-national-medal-of-arts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/284755246&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/284755246'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\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>\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/O8QqiJesJwY'\n title='//www.youtube.com/embed/O8QqiJesJwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\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/z4EEuupp_eY'\n title='//www.youtube.com/embed/z4EEuupp_eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11100646/californias-godfather-of-chicano-theater-wins-national-medal-of-arts",
"authors": [
"254"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_17286",
"news_4731"
],
"featImg": "news_11100663",
"label": "news_72"
},
"arts_12109684": {
"type": "posts",
"id": "arts_12109684",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12109684",
"score": null,
"sort": [
1474729223000
]
},
"guestAuthors": [],
"slug": "a-korean-celebrity-couple-kidnapped-by-kim-jong-il-the-lovers-and-the-despot",
"title": "A Korean Celebrity Couple Kidnapped by Kim Jong Il: 'The Lovers and The Despot'",
"publishDate": 1474729223,
"format": "standard",
"headTitle": "A Korean Celebrity Couple Kidnapped by Kim Jong Il: ‘The Lovers and The Despot’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>In the 1960s, Choi Eun Hee and Shin Sang Ok were South Korean cinema’s first couple. She was a movie star, he was an acclaimed director, and life with their two young children was considered glamorous. Then things got complicated.\u003c/p>\n\u003cp>Shin had two kids with a younger actress, and his financially struggling production company was shuttered by the government. He and Choi divorced, and in 1978 the actress vanished. Later the same year, Shin also disappeared.\u003c/p>\n\u003cp>Next stop, North Korea. Choi was kidnapped from Hong Kong on the orders of dictator-in-waiting Kim Jong Il, a movie buff who hoped his country’s films could become more mainstream and entertaining.\u003c/p>\n\u003cp>Shin was also snatched from Hong Kong, it seems, although his story is murkier. \u003cem>The Lovers and the Despot\u003c/em>, British filmmakers Rob Cannan and Ross Adam’s documentary, capably recounts the main facts of the case, but doesn’t illuminate its darker corners.\u003c/p>\n\u003cp>For those unfamiliar with Choi and Shin, this is a lively introduction. The film follows the abductees to Pyongyang, where they eventually became a couple again. The movies they made in the North are largely unknown elsewhere, but one has become something of a cult item: \u003cem>Pulgasari\u003c/em> is a \u003cem>Godzilla\u003c/em>-like flick about a monster that grows bigger from eating iron. It’s anti-war and anti-authoritarian, Shin has said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choi and Shin became members of Kim Jong Il’s inner circle, although the actress initially had an easier time than her ex-husband, who spent more than four years in a prison where grass was a large part of his diet. (Kim Jong Il told Shin his jailing was a “misunderstanding.”)\u003c/p>\n\u003cp>The two captives were allowed to travel for film festivals. That enabled them in 1986 to visit Vienna, where they made a sprint for the American Embassy.\u003c/p>\n\u003cp>They came to the U.S. bearing gifts: Choi had secretly taped conversations with Kim Jong Il, a man who didn’t deliver public speeches. The West’s North Korea-watchers had never even heard his voice. Now \u003cem>The Lovers and the Despot\u003c/em>‘s viewers can hear it, too.\u003c/p>\n\u003cp>The couple landed in Hollywood, where Shin directed one and produced four movies in the \u003cem>Three Ninjas\u003c/em> kiddie-action series, under the name Simon S. Sheen. Then came a return to South Korea, where Choi still lives. Shin died in 2006.\u003c/p>\n\u003cp>Although Cannan and Adam filmed re-enactments of some real-life spy-movie moments, they rely on primary sources wherever possible. The couple’s adult children are interviewed, and the movie relies heavily on Choi, who’s now 89.\u003c/p>\n\u003cp>Her recollections aren’t second-guessed, even when she says that in North Korea Shin made 17 movies in less than 2 1/2 years. When I interviewed Shin in 2005, he said there were seven, which is the generally accepted number.\u003c/p>\n\u003cp>Perhaps because the filmmakers couldn’t interview Shin, the movie doesn’t attempt to untangle his knotty story. Many Koreans doubted he had been kidnapped, although that was based largely on circumstantial suspicions of disloyalty: Shin was born in what became North Korea, and studied in 1940s Japan, when Korea was a Japanese colony. He was an admirer of postwar Japanese films, which were banned in South Korea.\u003c/p>\n\u003cp>In 1978, South Korea was not a democratic country, and some of Shin’s problems there were political. When he disappeared, the KCIA (what is now known as South Korea’s National Intelligence Service) was a suspect. Still, there’s no evidence that Shin went voluntarily to the North.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Shin remains something of missing person in \u003cem>The Lovers and the Despot\u003c/em>, it’s apt that the film focuses on Choi. She was an actress, after all, and the film suggests that successfully playing the role of Kim Jong Il’s pal was the role of her lifetime. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Korean+Celebrity+Couple+Kidnapped+By+Kim+Jong+Il%3A+%27The+Lovers+And+The+Despot%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The fascinating tale of a South Korean movie star and director kidnapped in the 1970s is dutifully recounted in a documentary that fails to explore several lingering questions.",
"status": "publish",
"parent": 0,
"modified": 1726787417,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 676
},
"headData": {
"title": "A Korean Celebrity Couple Kidnapped by Kim Jong Il: 'The Lovers and The Despot' | KQED",
"description": "The fascinating tale of a South Korean movie star and director kidnapped in the 1970s is dutifully recounted in a documentary that fails to explore several lingering questions.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Korean Celebrity Couple Kidnapped by Kim Jong Il: 'The Lovers and The Despot'",
"datePublished": "2016-09-24T08:00:23-07:00",
"dateModified": "2024-09-19T16:10:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Jenkins",
"nprImageAgency": "Magnolia Pictures",
"nprStoryId": "494908429",
"nprApiLink": "http://api.npr.org/query?id=494908429&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/09/22/494908429/a-korean-celebrity-couple-kidnapped-by-kim-jong-il-the-lovers-and-the-despot?ft=nprml&f=494908429",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 23 Sep 2016 13:32:00 -0400",
"nprStoryDate": "Thu, 22 Sep 2016 17:00:00 -0400",
"nprLastModifiedDate": "Fri, 23 Sep 2016 13:32:44 -0400",
"path": "/arts/12109684/a-korean-celebrity-couple-kidnapped-by-kim-jong-il-the-lovers-and-the-despot",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1960s, Choi Eun Hee and Shin Sang Ok were South Korean cinema’s first couple. She was a movie star, he was an acclaimed director, and life with their two young children was considered glamorous. Then things got complicated.\u003c/p>\n\u003cp>Shin had two kids with a younger actress, and his financially struggling production company was shuttered by the government. He and Choi divorced, and in 1978 the actress vanished. Later the same year, Shin also disappeared.\u003c/p>\n\u003cp>Next stop, North Korea. Choi was kidnapped from Hong Kong on the orders of dictator-in-waiting Kim Jong Il, a movie buff who hoped his country’s films could become more mainstream and entertaining.\u003c/p>\n\u003cp>Shin was also snatched from Hong Kong, it seems, although his story is murkier. \u003cem>The Lovers and the Despot\u003c/em>, British filmmakers Rob Cannan and Ross Adam’s documentary, capably recounts the main facts of the case, but doesn’t illuminate its darker corners.\u003c/p>\n\u003cp>For those unfamiliar with Choi and Shin, this is a lively introduction. The film follows the abductees to Pyongyang, where they eventually became a couple again. The movies they made in the North are largely unknown elsewhere, but one has become something of a cult item: \u003cem>Pulgasari\u003c/em> is a \u003cem>Godzilla\u003c/em>-like flick about a monster that grows bigger from eating iron. It’s anti-war and anti-authoritarian, Shin has said.\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>Choi and Shin became members of Kim Jong Il’s inner circle, although the actress initially had an easier time than her ex-husband, who spent more than four years in a prison where grass was a large part of his diet. (Kim Jong Il told Shin his jailing was a “misunderstanding.”)\u003c/p>\n\u003cp>The two captives were allowed to travel for film festivals. That enabled them in 1986 to visit Vienna, where they made a sprint for the American Embassy.\u003c/p>\n\u003cp>They came to the U.S. bearing gifts: Choi had secretly taped conversations with Kim Jong Il, a man who didn’t deliver public speeches. The West’s North Korea-watchers had never even heard his voice. Now \u003cem>The Lovers and the Despot\u003c/em>‘s viewers can hear it, too.\u003c/p>\n\u003cp>The couple landed in Hollywood, where Shin directed one and produced four movies in the \u003cem>Three Ninjas\u003c/em> kiddie-action series, under the name Simon S. Sheen. Then came a return to South Korea, where Choi still lives. Shin died in 2006.\u003c/p>\n\u003cp>Although Cannan and Adam filmed re-enactments of some real-life spy-movie moments, they rely on primary sources wherever possible. The couple’s adult children are interviewed, and the movie relies heavily on Choi, who’s now 89.\u003c/p>\n\u003cp>Her recollections aren’t second-guessed, even when she says that in North Korea Shin made 17 movies in less than 2 1/2 years. When I interviewed Shin in 2005, he said there were seven, which is the generally accepted number.\u003c/p>\n\u003cp>Perhaps because the filmmakers couldn’t interview Shin, the movie doesn’t attempt to untangle his knotty story. Many Koreans doubted he had been kidnapped, although that was based largely on circumstantial suspicions of disloyalty: Shin was born in what became North Korea, and studied in 1940s Japan, when Korea was a Japanese colony. He was an admirer of postwar Japanese films, which were banned in South Korea.\u003c/p>\n\u003cp>In 1978, South Korea was not a democratic country, and some of Shin’s problems there were political. When he disappeared, the KCIA (what is now known as South Korea’s National Intelligence Service) was a suspect. Still, there’s no evidence that Shin went voluntarily to the North.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Shin remains something of missing person in \u003cem>The Lovers and the Despot\u003c/em>, it’s apt that the film focuses on Choi. She was an actress, after all, and the film suggests that successfully playing the role of Kim Jong Il’s pal was the role of her lifetime. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Korean+Celebrity+Couple+Kidnapped+By+Kim+Jong+Il%3A+%27The+Lovers+And+The+Despot%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12109684/a-korean-celebrity-couple-kidnapped-by-kim-jong-il-the-lovers-and-the-despot",
"authors": [
"byline_arts_12109684"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12109685",
"label": "arts_137"
},
"arts_12104402": {
"type": "posts",
"id": "arts_12104402",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12104402",
"score": null,
"sort": [
1474588803000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-a-composer-at-80-an-uncomfortable-comedy-about-race-and-a-magical-musical-world",
"title": "Cy and David's Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World",
"publishDate": 1474588803,
"format": "standard",
"headTitle": "Cy and David’s Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/284193182″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=lxEsC8wTO6Y\u003c/p>\n\u003cp>\u003cstrong>Sept. 29:\u003c/strong> Another great American composer known for groundbreaking work in minimalism is turning 80. We mentioned Steve Reich \u003ca href=\"https://ww2.kqed.org/arts/2016/09/01/cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues/\" target=\"_blank\" rel=\"noopener\">a few weeks ago\u003c/a> — now it’s\u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\"> Philip Glass\u003c/a>’ turn. And you can celebrate his still-dexterous fingers as he joins four other pianists to play all 20 of Glass’ piano études. He’s working with a terrific team, including the Bay Area’s \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\"> Sarah Cahill, \u003c/a>jazz pianist \u003ca href=\"http://www.aarondiehl.com/\" target=\"_blank\" rel=\"noopener\">Aaron Diehl\u003c/a>, and Jenny Lin. Glass does a pre-show chat with Stanford Live’s executive director Chris Lorway; I hope he talks about his days driving cab in New York. Tickets for this Bing Hall Concert are scarce, so act fast. Details \u003ca href=\"https://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12104803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg\" alt=\"Richard Clifford and Derek Jacobi in 'Measure and Dido' coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Clifford and Derek Jacobi in ‘Measure and Dido’ coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State \u003ccite>(Photo: Courtesy of Folger Shakespeare Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 24 and 25\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Derek_Jacobi\" target=\"_blank\" rel=\"noopener\">Derek Jacobi \u003c/a>could have retired after making \u003cem>\u003ca href=\"http://www.pbs.org/wgbh/masterpiece/archive/39/39.html\" target=\"_blank\" rel=\"noopener\">I, Claudius\u003c/a>\u003c/em> in 1976, and people would still be talking about how good he was in that BBC series. But he’s still working (\u003ca href=\"http://www.pbs.org/program/vicious/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious\u003c/em>\u003c/a> with Ian McKellen), and he’s the biggest star in a touring show from the Folger Shakespeare Library, a fascinating mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> with Purcell’s opera \u003cem>Dido and Aeneas\u003c/em>. Jacobi stars with his partner \u003ca href=\"http://www.imdb.com/name/nm0166678/\" target=\"_blank\" rel=\"noopener\">Richard Clifford\u003c/a>, who also directs the show, and musicians of the Folger Consort. This is a coup for the North Bay. The \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Center\u003c/a> in Yountville gets the world premiere, Saturday. Details \u003ca href=\"http://lincolntheater.com/vbo/?page=selectevent&eid=14227&edid=0\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then \u003ca href=\"http://gmc.sonoma.edu/events-by-date\" target=\"_blank\" rel=\"noopener\">Weill Hall \u003c/a>at Sonoma State in Rohnert Park gets the second performance. Details \u003ca href=\"http://gmc.sonoma.edu/event/3156910-shakespeare-s-400th-excerpts-from-measure-for\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-YaWE0zu-c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-Oct. 9\u003c/strong>: A musical adaptation of \u003cem>Pride and Prejudice\u003c/em>. Is Jane Austen rolling in her grave? Well, at least there are no zombies. This production from the scrappy \u003ca href=\"http://iamtheatre.org/\" target=\"_blank\" rel=\"noopener\">IAM Theatre\u003c/a> is also a chance to support a local favorite. The songs in \u003cem>Pride and Prejudice the Musical \u003c/em>are by \u003ca href=\"http://www.ritaabrams.com/\" target=\"_blank\" rel=\"noopener\">Rita Abrams\u003c/a>, the former Mill Valley schoolteacher priced out of town a few years ago, and the composer of the hit song “Mill Valley.” Details for this North American premiere are \u003ca href=\"http://www.prideandprejudicemusical.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qS2MJwmBB5Y\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-25\u003c/strong>: The \u003ca href=\"http://www.dresherensemble.org/\" target=\"_blank\" rel=\"noopener\">Paul Dresher Ensemble \u003c/a>is always pushing the boundaries of music and theater. This time, they’ve enlisted percussionist \u003ca href=\"http://sfcmp.org/steven-schick/\" target=\"_blank\" rel=\"noopener\">Steven Schick \u003c/a>(artistic director for the San Francisco Contemporary Music Players) to shake and bang on a battery of one-of-a-kind instruments in what they’re calling “Schick Experiment,” directed by \u003ca href=\"http://www.rindeeckert.com/\" target=\"_blank\" rel=\"noopener\">Rinde Eckert. \u003c/a>The instruments are as expressive as Schick himself: everything from a piece of sheet metal on a pogo stick to the Hurdy Grande, the Field of Flowers, and the Peacock (a deconstructed pipe organ). The idea seems to be to have fun with sound. We radio people applaud. Details \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/18516286\u003c/p>\n\u003cp>\u003cstrong>Sept. 22-Oct 15\u003c/strong>: \u003ca href=\"http://youngjeanlee.org/\" target=\"_blank\" rel=\"noopener\">Young Jean Lee\u003c/a> wrote her play \u003cem>The Shipment\u003c/em> back in in 2007, but it feels totally fresh today. It’s about racial stereotyping in American culture, and it premiered before President Obama was inaugurated, before Black Lives matter, and before #OscarsSoWhite, yet Lee told me that she’s shocked at how little has changed since then. “It’s much more disturbing to me now than it was back then,” she says. “You know the issues that it’s addressing hurt more, because we should have gotten further by now.” Lee said she loves the dynamic of how mixed audiences (black and white) watching the show end up also watching each other, trying to gauge how to react. Maybe you should bring a friend. Details for the show’s run at \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater\u003c/a> are \u003ca href=\"//www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12104607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104607\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg\" alt=\"Richmond Art Center Celebrates its 80th Anniversary\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Art Center Celebrates its 80th Anniversary \u003ccite>(Photo: Courtesy of Richmond Art Center )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23-Nov. 12\u003c/strong>: Another 80th birthday now, this time for one of the Bay Area’s best and most innovative art centers. The \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center \u003c/a>celebrates with the show \u003cem>Making Our Mark\u003c/em> by some of the great artists who’ve shown there, and their students, featuring work by \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener\">Hung Liu, \u003c/a>Christopher Brown, Squeak Carnwath, Enrique Chagoya, William T. Wiley, and more. This evening the RAC celebrates its role teaching art to thousands of local school kids, with a \u003cem>Back to School Community Celebration\u003c/em> with art-making and food. Tomorrow the \u003ca href=\"http://delsolquartet.com/\" target=\"_blank\" rel=\"noopener\">Del Sol Quartet \u003c/a>plays music by Terry Riley at 2pm — just ten bucks for that. Details for the gallery show and other goodies are \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IHyLiZTMmqg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://deadprezblog.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a> is the duo of M1 and stic.man, and their music mixes social justice with pan-Africanism. In fact they make \u003ca href=\"http://publicenemy.com/\" target=\"_blank\" rel=\"noopener\">Public Enemy\u003c/a> look like pussy cats, with lyrics like “You wanna stop terrorists, start with U.S. imperialists.” When he was on Comedy Central, Dave Chapelle opened each episode of \u003cem>Chapelle’s Show\u003c/em> with an instrumental version of the Dead Prez song \u003ca href=\"https://www.youtube.com/watch?v=4jNyr6BJZuI\" target=\"_blank\" rel=\"noopener\">“Hip-Hop.”\u003c/a> They haven’t released an album in a while, but I’m glad they’re touring. Details for their show at the Uptown Nightclub in Oakland are \u003ca href=\"http://www.uptownnightclub.com/event/dead-prez/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Philip Glass, Young Jean Lee, the Paul Dresher Ensemble, Dead Prez and more.",
"status": "publish",
"parent": 0,
"modified": 1726787422,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 983
},
"headData": {
"title": "Cy and David's Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World | KQED",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Philip Glass, Young Jean Lee, the Paul Dresher Ensemble, Dead Prez and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World",
"datePublished": "2016-09-22T17:00:03-07:00",
"dateModified": "2024-09-19T16:10:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "495110660",
"path": "/arts/12104402/cy-and-davids-picks-a-composer-at-80-an-uncomfortable-comedy-about-race-and-a-magical-musical-world",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/284193182″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/284193182″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/lxEsC8wTO6Y'\n title='//www.youtube.com/embed/lxEsC8wTO6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29:\u003c/strong> Another great American composer known for groundbreaking work in minimalism is turning 80. We mentioned Steve Reich \u003ca href=\"https://ww2.kqed.org/arts/2016/09/01/cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues/\" target=\"_blank\" rel=\"noopener\">a few weeks ago\u003c/a> — now it’s\u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\"> Philip Glass\u003c/a>’ turn. And you can celebrate his still-dexterous fingers as he joins four other pianists to play all 20 of Glass’ piano études. He’s working with a terrific team, including the Bay Area’s \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\"> Sarah Cahill, \u003c/a>jazz pianist \u003ca href=\"http://www.aarondiehl.com/\" target=\"_blank\" rel=\"noopener\">Aaron Diehl\u003c/a>, and Jenny Lin. Glass does a pre-show chat with Stanford Live’s executive director Chris Lorway; I hope he talks about his days driving cab in New York. Tickets for this Bing Hall Concert are scarce, so act fast. Details \u003ca href=\"https://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12104803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg\" alt=\"Richard Clifford and Derek Jacobi in 'Measure and Dido' coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Clifford and Derek Jacobi in ‘Measure and Dido’ coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State \u003ccite>(Photo: Courtesy of Folger Shakespeare Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 24 and 25\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Derek_Jacobi\" target=\"_blank\" rel=\"noopener\">Derek Jacobi \u003c/a>could have retired after making \u003cem>\u003ca href=\"http://www.pbs.org/wgbh/masterpiece/archive/39/39.html\" target=\"_blank\" rel=\"noopener\">I, Claudius\u003c/a>\u003c/em> in 1976, and people would still be talking about how good he was in that BBC series. But he’s still working (\u003ca href=\"http://www.pbs.org/program/vicious/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious\u003c/em>\u003c/a> with Ian McKellen), and he’s the biggest star in a touring show from the Folger Shakespeare Library, a fascinating mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> with Purcell’s opera \u003cem>Dido and Aeneas\u003c/em>. Jacobi stars with his partner \u003ca href=\"http://www.imdb.com/name/nm0166678/\" target=\"_blank\" rel=\"noopener\">Richard Clifford\u003c/a>, who also directs the show, and musicians of the Folger Consort. This is a coup for the North Bay. The \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Center\u003c/a> in Yountville gets the world premiere, Saturday. Details \u003ca href=\"http://lincolntheater.com/vbo/?page=selectevent&eid=14227&edid=0\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then \u003ca href=\"http://gmc.sonoma.edu/events-by-date\" target=\"_blank\" rel=\"noopener\">Weill Hall \u003c/a>at Sonoma State in Rohnert Park gets the second performance. Details \u003ca href=\"http://gmc.sonoma.edu/event/3156910-shakespeare-s-400th-excerpts-from-measure-for\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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/w-YaWE0zu-c'\n title='//www.youtube.com/embed/w-YaWE0zu-c'\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>\u003cstrong>Sept. 23-Oct. 9\u003c/strong>: A musical adaptation of \u003cem>Pride and Prejudice\u003c/em>. Is Jane Austen rolling in her grave? Well, at least there are no zombies. This production from the scrappy \u003ca href=\"http://iamtheatre.org/\" target=\"_blank\" rel=\"noopener\">IAM Theatre\u003c/a> is also a chance to support a local favorite. The songs in \u003cem>Pride and Prejudice the Musical \u003c/em>are by \u003ca href=\"http://www.ritaabrams.com/\" target=\"_blank\" rel=\"noopener\">Rita Abrams\u003c/a>, the former Mill Valley schoolteacher priced out of town a few years ago, and the composer of the hit song “Mill Valley.” Details for this North American premiere are \u003ca href=\"http://www.prideandprejudicemusical.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/qS2MJwmBB5Y'\n title='//www.youtube.com/embed/qS2MJwmBB5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 23-25\u003c/strong>: The \u003ca href=\"http://www.dresherensemble.org/\" target=\"_blank\" rel=\"noopener\">Paul Dresher Ensemble \u003c/a>is always pushing the boundaries of music and theater. This time, they’ve enlisted percussionist \u003ca href=\"http://sfcmp.org/steven-schick/\" target=\"_blank\" rel=\"noopener\">Steven Schick \u003c/a>(artistic director for the San Francisco Contemporary Music Players) to shake and bang on a battery of one-of-a-kind instruments in what they’re calling “Schick Experiment,” directed by \u003ca href=\"http://www.rindeeckert.com/\" target=\"_blank\" rel=\"noopener\">Rinde Eckert. \u003c/a>The instruments are as expressive as Schick himself: everything from a piece of sheet metal on a pogo stick to the Hurdy Grande, the Field of Flowers, and the Peacock (a deconstructed pipe organ). The idea seems to be to have fun with sound. We radio people applaud. Details \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "18516286"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 22-Oct 15\u003c/strong>: \u003ca href=\"http://youngjeanlee.org/\" target=\"_blank\" rel=\"noopener\">Young Jean Lee\u003c/a> wrote her play \u003cem>The Shipment\u003c/em> back in in 2007, but it feels totally fresh today. It’s about racial stereotyping in American culture, and it premiered before President Obama was inaugurated, before Black Lives matter, and before #OscarsSoWhite, yet Lee told me that she’s shocked at how little has changed since then. “It’s much more disturbing to me now than it was back then,” she says. “You know the issues that it’s addressing hurt more, because we should have gotten further by now.” Lee said she loves the dynamic of how mixed audiences (black and white) watching the show end up also watching each other, trying to gauge how to react. Maybe you should bring a friend. Details for the show’s run at \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater\u003c/a> are \u003ca href=\"//www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12104607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104607\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg\" alt=\"Richmond Art Center Celebrates its 80th Anniversary\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Art Center Celebrates its 80th Anniversary \u003ccite>(Photo: Courtesy of Richmond Art Center )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23-Nov. 12\u003c/strong>: Another 80th birthday now, this time for one of the Bay Area’s best and most innovative art centers. The \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center \u003c/a>celebrates with the show \u003cem>Making Our Mark\u003c/em> by some of the great artists who’ve shown there, and their students, featuring work by \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener\">Hung Liu, \u003c/a>Christopher Brown, Squeak Carnwath, Enrique Chagoya, William T. Wiley, and more. This evening the RAC celebrates its role teaching art to thousands of local school kids, with a \u003cem>Back to School Community Celebration\u003c/em> with art-making and food. Tomorrow the \u003ca href=\"http://delsolquartet.com/\" target=\"_blank\" rel=\"noopener\">Del Sol Quartet \u003c/a>plays music by Terry Riley at 2pm — just ten bucks for that. Details for the gallery show and other goodies are \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/IHyLiZTMmqg'\n title='//www.youtube.com/embed/IHyLiZTMmqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://deadprezblog.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a> is the duo of M1 and stic.man, and their music mixes social justice with pan-Africanism. In fact they make \u003ca href=\"http://publicenemy.com/\" target=\"_blank\" rel=\"noopener\">Public Enemy\u003c/a> look like pussy cats, with lyrics like “You wanna stop terrorists, start with U.S. imperialists.” When he was on Comedy Central, Dave Chapelle opened each episode of \u003cem>Chapelle’s Show\u003c/em> with an instrumental version of the Dead Prez song \u003ca href=\"https://www.youtube.com/watch?v=4jNyr6BJZuI\" target=\"_blank\" rel=\"noopener\">“Hip-Hop.”\u003c/a> They haven’t released an album in a while, but I’m glad they’re touring. Details for their show at the Uptown Nightclub in Oakland are \u003ca href=\"http://www.uptownnightclub.com/event/dead-prez/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12104402/cy-and-davids-picks-a-composer-at-80-an-uncomfortable-comedy-about-race-and-a-magical-musical-world",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_12104406",
"label": "arts_140"
},
"arts_12104012": {
"type": "posts",
"id": "arts_12104012",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12104012",
"score": null,
"sort": [
1474577282000
]
},
"guestAuthors": [],
"slug": "macarthur-foundation-grants-awards-to-three-bay-area-arts-geniuses",
"title": "MacArthur Foundation Grants Awards to Three Bay Area Arts 'Geniuses'",
"publishDate": 1474577282,
"format": "standard",
"headTitle": "MacArthur Foundation Grants Awards to Three Bay Area Arts ‘Geniuses’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Three Bay Area artists are among the recipients of the coveted 2016 \u003ca href=\"https://www.macfound.org/\" target=\"_blank\" rel=\"noopener\">John D. and Catherine MacArthur Foundation\u003c/a> “genius grants.”\u003c/p>\n\u003cp>Graphic novelist \u003ca href=\"http://geneyang.com/\" target=\"_blank\" rel=\"noopener\">Gene Luen Yang\u003c/a>, sculptor \u003ca href=\"http://www.matthewmarks.com/new-york/artists/vincent-fecteau/\" target=\"_blank\" rel=\"noopener\">Vincent Fecteau\u003c/a> and writer \u003ca href=\"https://directory.calarts.edu/directory/maggie-nelson\" target=\"_blank\" rel=\"noopener\">Maggie Nelson\u003c/a>, all learned of their awards by phone on Wednesday.\u003c/p>\n\u003cp>The winners join this year’s class of 23 fellows whom the foundation has recognized for exceptional work in a variety of creative fields. Each fellow receives a stipend of $625,000, which will be disbursed over the course of five years. The gift aims to support each recipient in furthering their work.\u003c/p>\n\u003cp>“While our communities, our nation, and our world face both historic and emerging challenges, these 23 extraordinary individuals give us ample reason for hope,” MacArthur President Julia Stasch said the foundation’s award announcement. “They are breaking new ground in areas of public concern, in the arts, and in the sciences, often in unexpected ways. Their creativity, dedication, and impact inspire us all.”\u003c/p>\n\u003cp>The Bay Area fellows have channeled that creativity into work that has been lauded nationwide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yang, a San Jose native, currently serves as the National Ambassador for Young People’s Literature, and is the first graphic novelist to do so in the position’s history. His work explores the Chinese-American experience and other diverse identities and perspectives, with a focus on young adults.\u003c/p>\n\u003cfigure id=\"attachment_12104660\" class=\"wp-caption aligncenter\" style=\"max-width: 388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104660\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg\" alt=\"Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang)\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-768x1188.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-763x1180.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-1180x1825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-960x1485.jpg 960w\" sizes=\"(max-width: 388px) 100vw, 388px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang) \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work is really about how young people find their power, how they find their voice, how they find their sense of belonging, and how that adds up to their identity,” Yang recently said in a discussion with \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/watch/archive/298456\" target=\"_blank\" rel=\"noopener\">KQED’s Newsroom\u003c/a>.\u003c/p>\n\u003cp>Other Bay Area fellows engage with similar projects around identity and critical introspection. Nelson, who grew up in San Francisco and currently resides in Los Angeles, discusses “universal” narratives and concepts around relationships and identity politics. Fecteau, a fellow San Franciscan, creates sculptures that challenge his viewers to deeply contemplate the act of perception and its relationship with philosophical and physical dimensions.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vincent Fecteau\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/eKyqvEVngrU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The MacArthur Foundation also recognized Oakland-based José Quiñonez, the director of the non-profit financial marketplace, \u003ca href=\"http://missionassetfund.org/\" target=\"_blank\" rel=\"noopener\">Mission Asset Fund\u003c/a>, for his efforts toward increasing financial access to minority, immigrant and low-income households.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Graphic novelist Gene Luen Yang, sculptor Vincent Fecteau and writer Maggie Nelson all learned of their awards by phone on Wednesday.",
"status": "publish",
"parent": 0,
"modified": 1726709018,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 444
},
"headData": {
"title": "MacArthur Foundation Grants Awards to Three Bay Area Arts 'Geniuses' | KQED",
"description": "Graphic novelist Gene Luen Yang, sculptor Vincent Fecteau and writer Maggie Nelson all learned of their awards by phone on Wednesday.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "MacArthur Foundation Grants Awards to Three Bay Area Arts 'Geniuses'",
"datePublished": "2016-09-22T13:48:02-07:00",
"dateModified": "2024-09-18T18:23:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "495080586",
"path": "/arts/12104012/macarthur-foundation-grants-awards-to-three-bay-area-arts-geniuses",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three Bay Area artists are among the recipients of the coveted 2016 \u003ca href=\"https://www.macfound.org/\" target=\"_blank\" rel=\"noopener\">John D. and Catherine MacArthur Foundation\u003c/a> “genius grants.”\u003c/p>\n\u003cp>Graphic novelist \u003ca href=\"http://geneyang.com/\" target=\"_blank\" rel=\"noopener\">Gene Luen Yang\u003c/a>, sculptor \u003ca href=\"http://www.matthewmarks.com/new-york/artists/vincent-fecteau/\" target=\"_blank\" rel=\"noopener\">Vincent Fecteau\u003c/a> and writer \u003ca href=\"https://directory.calarts.edu/directory/maggie-nelson\" target=\"_blank\" rel=\"noopener\">Maggie Nelson\u003c/a>, all learned of their awards by phone on Wednesday.\u003c/p>\n\u003cp>The winners join this year’s class of 23 fellows whom the foundation has recognized for exceptional work in a variety of creative fields. Each fellow receives a stipend of $625,000, which will be disbursed over the course of five years. The gift aims to support each recipient in furthering their work.\u003c/p>\n\u003cp>“While our communities, our nation, and our world face both historic and emerging challenges, these 23 extraordinary individuals give us ample reason for hope,” MacArthur President Julia Stasch said the foundation’s award announcement. “They are breaking new ground in areas of public concern, in the arts, and in the sciences, often in unexpected ways. Their creativity, dedication, and impact inspire us all.”\u003c/p>\n\u003cp>The Bay Area fellows have channeled that creativity into work that has been lauded nationwide.\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>Yang, a San Jose native, currently serves as the National Ambassador for Young People’s Literature, and is the first graphic novelist to do so in the position’s history. His work explores the Chinese-American experience and other diverse identities and perspectives, with a focus on young adults.\u003c/p>\n\u003cfigure id=\"attachment_12104660\" class=\"wp-caption aligncenter\" style=\"max-width: 388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104660\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg\" alt=\"Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang)\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-768x1188.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-763x1180.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-1180x1825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-960x1485.jpg 960w\" sizes=\"(max-width: 388px) 100vw, 388px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang) \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work is really about how young people find their power, how they find their voice, how they find their sense of belonging, and how that adds up to their identity,” Yang recently said in a discussion with \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/watch/archive/298456\" target=\"_blank\" rel=\"noopener\">KQED’s Newsroom\u003c/a>.\u003c/p>\n\u003cp>Other Bay Area fellows engage with similar projects around identity and critical introspection. Nelson, who grew up in San Francisco and currently resides in Los Angeles, discusses “universal” narratives and concepts around relationships and identity politics. Fecteau, a fellow San Franciscan, creates sculptures that challenge his viewers to deeply contemplate the act of perception and its relationship with philosophical and physical dimensions.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vincent Fecteau\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/eKyqvEVngrU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The MacArthur Foundation also recognized Oakland-based José Quiñonez, the director of the non-profit financial marketplace, \u003ca href=\"http://missionassetfund.org/\" target=\"_blank\" rel=\"noopener\">Mission Asset Fund\u003c/a>, for his efforts toward increasing financial access to minority, immigrant and low-income households.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12104012/macarthur-foundation-grants-awards-to-three-bay-area-arts-geniuses",
"authors": [
"11208"
],
"categories": [
"arts_235"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_12104802",
"label": "arts"
},
"arts_12096988": {
"type": "posts",
"id": "arts_12096988",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12096988",
"score": null,
"sort": [
1474570826000
]
},
"guestAuthors": [],
"slug": "tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth",
"title": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth",
"publishDate": 1474570826,
"format": "standard",
"headTitle": "Tom Sachs Leads Space Mission to Jupiter’s Europa Without Leaving Earth | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "One of the strangest effects of sculptor Tom Sachs’ 'Space Program: Europa' is how it reconstitutes the possibilities of belief. ",
"status": "publish",
"parent": 0,
"modified": 1726770916,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 1165
},
"headData": {
"title": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth | KQED",
"description": "One of the strangest effects of sculptor Tom Sachs’ 'Space Program: Europa' is how it reconstitutes the possibilities of belief. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth",
"datePublished": "2016-09-22T12:00:26-07:00",
"dateModified": "2024-09-19T11:35:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "495059162",
"path": "/arts/12096988/tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\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>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\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>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12096988/tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_235",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12097178",
"label": "arts_140"
},
"bayareabites_112170": {
"type": "posts",
"id": "bayareabites_112170",
"meta": {
"index": "posts_1716263798",
"site": "bayareabites",
"id": "112170",
"score": null,
"sort": [
1474564352000
]
},
"parent": 0,
"labelTerm": {
"site": "bayareabites"
},
"blocks": [],
"publishDate": 1474564352,
"format": "standard",
"disqusTitle": "What Happens When Yelp Restaurant Reviews Turn Political?",
"title": "What Happens When Yelp Restaurant Reviews Turn Political?",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Until Sept. 19, if diners had wanted to see Yelp reviews for Elizabeth, New Jersey restaurant First American Fried Chicken, they would have found just two of them, praising the food, wide selection and late hours. Now, the majority of reviews give the restaurant one star, refer to the owners as \"terrorists,\" talk about \"72 virgin bucket specials\" and mention — repeatedly — that their chicken is \"the bomb.\"\u003c/p>\n\u003cp>First American Fried Chicken has gotten 13 pages of new reviews since the news broke that the owner's son, Ahmad Khan Rahami, was the suspect in last weekend's Manhattan and New Jersey bombings.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Before Yelp was founded in 2004, reviewing was the domain of professional critics. In the past decade, the public has discovered social media is not just a way to connect but a great way to air grievances. Once, if a business or business owner did something members of the public didn't like, they had little recourse besides protesting in person or to their local Better Business Bureau. Now, through Yelp, the average person can easily try to put someone out of business. The site is so popular — especially when people are trying to find a place to eat — that too many low reviews can keep hungry patrons from ever considering the restaurant.\u003c/p>\n\u003cp>Past victims of Yelp attacks have come from both sides of the political spectrum — ranging from a restaurant whose owner was photographed giving Obama a giant \"bear hug\" to a bakery who refused to make a cake for a same-sex wedding. Airing political views through Yelp has become such a popular (and unwelcome) pastime that the site had to create a \"cleanup\" alert, which was first implemented last year in response to the numerous political attacks.\u003cstrong> \u003c/strong>A business undergoing a cleanup will have a large red box at the top of noting that the page is being closely monitored by Yelp staff. The questionable reviews aren't actually removed at first. Instead, they are covered by a pop-up window (users can click out of it) that goes into greater detail about the media-related nature of the cleanup.\u003c/p>\n\u003cfigure id=\"attachment_112172\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg\" alt='Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff.' width=\"1376\" height=\"1115\" class=\"size-full wp-image-112172\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-400x324.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-800x648.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-768x622.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-1180x956.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-960x778.jpg 960w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff. \u003ccite>(Screenshot from Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our goal is to be transparent with the actions we take to protect the quality of content on our site, preserve consumers' freedom of speech, and shield businesses from online harassment,\" a Yelp spokesperson said. \"These media storms are complicated situations that create a dilemma for Yelp, but we've chosen to take a strong and consistent stance on managing them.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While there are media-fueled reviews \"several times a month\" on Yelp, according to the spokesperson, it's rare that they reach the level of First American Fried Chicken. This likely contributed to Yelp's fast response to the fake reviews, which are usually noticed by the support team or flagged by members of the community.\u003c/p>\n\u003cp>The effects of these politically motivated reviews — and the sentiments behind them — are real and go far beyond lowering a business to one-star status. Sweet Cakes by Melissa, the \u003ca href=\"http://www.oregonlive.com/business/index.ssf/2015/04/gofundme_fundraising_site_for.html\" target=\"_blank\">Portland bakery\u003c/a> that was eventually forced to pay the same-sex couple damages for refusing to bake for their wedding, had its stance supported by enough people to raise $66,000 via a GoFundMe page to help with legal fees. (The campaign was shut down by the site before completion, evidently because it violated GoFundMe's terms and conditions.) Despite a network of supporters over the Internet, Sweet Cakes closed within a year of refusing the couple.\u003c/p>\n\u003cp>After Pete, the owner of a college-town bar in South Carolina, refused to allow concealed weapons in his establishment, he found himself attacked from anti-gun control supporters. He didn't want to use his full name or the name of his establishment because \"every time it gets posted, we get another round of hits.\"\u003c/p>\n\u003cp>And it's not just one-star reviews or angry posts on social media (though those happen, too). \"We get so many calls with people cursing us out,\" Pete said.\u003c/p>\n\u003cp>Many of his employees are college students, working part-time, and they'd answer the phone to hear people threaten to \"shoot you in the head,\" Pete recalled. As far as his actual customers, business does just as well or slightly better after one of these attacks, \"but it's just not worth it,\" he said.\u003c/p>\n\u003cp>When Yelp is finished with its cleanup of First American Fried Chicken, most of the political reviews will be scrubbed away. But the outpouring of hate is hard to forget, a permanent stain that no cleanup can fix. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
"disqusIdentifier": "112170 http://ww2.kqed.org/bayareabites/?p=112170",
"disqusUrl": "https://ww2.kqed.org/bayareabites/2016/09/22/what-happens-when-yelp-restaurant-reviews-turn-political/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 822,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1474564406,
"excerpt": "First American Fried Chicken, owned by the family of the suspect in the Manhattan bombings, is the latest eatery to see reviews plummet based on more than food. Some attacks can cross into real life.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "First American Fried Chicken, owned by the family of the suspect in the Manhattan bombings, is the latest eatery to see reviews plummet based on more than food. Some attacks can cross into real life.",
"title": "What Happens When Yelp Restaurant Reviews Turn Political? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Happens When Yelp Restaurant Reviews Turn Political?",
"datePublished": "2016-09-22T10:12:32-07:00",
"dateModified": "2016-09-22T10:13:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "what-happens-when-yelp-restaurant-reviews-turn-political",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=494935022&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Tove Danovich, \u003ca href=\"https://ww2.kqed.org/bayareabites/author/nprfood/\">NPR Food\u003c/a>",
"nprStoryDate": "Thu, 22 Sep 2016 12:32:49 -0400",
"nprLastModifiedDate": "Thu, 22 Sep 2016 12:32:49 -0400",
"nprHtmlLink": "http://www.npr.org/sections/thesalt/2016/09/22/494935022/what-happens-when-yelp-restaurant-reviews-turn-political?ft=nprml&f=494935022",
"nprImageAgency": "AP",
"nprImageCredit": "Mel Evans",
"nprStoryId": "494935022",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 22 Sep 2016 12:32:00 -0400",
"path": "/bayareabites/112170/what-happens-when-yelp-restaurant-reviews-turn-political",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Until Sept. 19, if diners had wanted to see Yelp reviews for Elizabeth, New Jersey restaurant First American Fried Chicken, they would have found just two of them, praising the food, wide selection and late hours. Now, the majority of reviews give the restaurant one star, refer to the owners as \"terrorists,\" talk about \"72 virgin bucket specials\" and mention — repeatedly — that their chicken is \"the bomb.\"\u003c/p>\n\u003cp>First American Fried Chicken has gotten 13 pages of new reviews since the news broke that the owner's son, Ahmad Khan Rahami, was the suspect in last weekend's Manhattan and New Jersey bombings.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Before Yelp was founded in 2004, reviewing was the domain of professional critics. In the past decade, the public has discovered social media is not just a way to connect but a great way to air grievances. Once, if a business or business owner did something members of the public didn't like, they had little recourse besides protesting in person or to their local Better Business Bureau. Now, through Yelp, the average person can easily try to put someone out of business. The site is so popular — especially when people are trying to find a place to eat — that too many low reviews can keep hungry patrons from ever considering the restaurant.\u003c/p>\n\u003cp>Past victims of Yelp attacks have come from both sides of the political spectrum — ranging from a restaurant whose owner was photographed giving Obama a giant \"bear hug\" to a bakery who refused to make a cake for a same-sex wedding. Airing political views through Yelp has become such a popular (and unwelcome) pastime that the site had to create a \"cleanup\" alert, which was first implemented last year in response to the numerous political attacks.\u003cstrong> \u003c/strong>A business undergoing a cleanup will have a large red box at the top of noting that the page is being closely monitored by Yelp staff. The questionable reviews aren't actually removed at first. Instead, they are covered by a pop-up window (users can click out of it) that goes into greater detail about the media-related nature of the cleanup.\u003c/p>\n\u003cfigure id=\"attachment_112172\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg\" alt='Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff.' width=\"1376\" height=\"1115\" class=\"size-full wp-image-112172\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-400x324.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-800x648.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-768x622.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-1180x956.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-960x778.jpg 960w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff. \u003ccite>(Screenshot from Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our goal is to be transparent with the actions we take to protect the quality of content on our site, preserve consumers' freedom of speech, and shield businesses from online harassment,\" a Yelp spokesperson said. \"These media storms are complicated situations that create a dilemma for Yelp, but we've chosen to take a strong and consistent stance on managing them.\"\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>While there are media-fueled reviews \"several times a month\" on Yelp, according to the spokesperson, it's rare that they reach the level of First American Fried Chicken. This likely contributed to Yelp's fast response to the fake reviews, which are usually noticed by the support team or flagged by members of the community.\u003c/p>\n\u003cp>The effects of these politically motivated reviews — and the sentiments behind them — are real and go far beyond lowering a business to one-star status. Sweet Cakes by Melissa, the \u003ca href=\"http://www.oregonlive.com/business/index.ssf/2015/04/gofundme_fundraising_site_for.html\" target=\"_blank\">Portland bakery\u003c/a> that was eventually forced to pay the same-sex couple damages for refusing to bake for their wedding, had its stance supported by enough people to raise $66,000 via a GoFundMe page to help with legal fees. (The campaign was shut down by the site before completion, evidently because it violated GoFundMe's terms and conditions.) Despite a network of supporters over the Internet, Sweet Cakes closed within a year of refusing the couple.\u003c/p>\n\u003cp>After Pete, the owner of a college-town bar in South Carolina, refused to allow concealed weapons in his establishment, he found himself attacked from anti-gun control supporters. He didn't want to use his full name or the name of his establishment because \"every time it gets posted, we get another round of hits.\"\u003c/p>\n\u003cp>And it's not just one-star reviews or angry posts on social media (though those happen, too). \"We get so many calls with people cursing us out,\" Pete said.\u003c/p>\n\u003cp>Many of his employees are college students, working part-time, and they'd answer the phone to hear people threaten to \"shoot you in the head,\" Pete recalled. As far as his actual customers, business does just as well or slightly better after one of these attacks, \"but it's just not worth it,\" he said.\u003c/p>\n\u003cp>When Yelp is finished with its cleanup of First American Fried Chicken, most of the political reviews will be scrubbed away. But the outpouring of hate is hard to forget, a permanent stain that no cleanup can fix. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/bayareabites/112170/what-happens-when-yelp-restaurant-reviews-turn-political",
"authors": [
"byline_bayareabites_112170"
],
"categories": [
"bayareabites_2035"
],
"tags": [
"bayareabites_13173",
"bayareabites_939"
],
"featImg": "bayareabites_112171",
"label": "bayareabites"
},
"arts_12100395": {
"type": "posts",
"id": "arts_12100395",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12100395",
"score": null,
"sort": [
1474501078000
]
},
"guestAuthors": [],
"slug": "black-american-journey-finally-enshrined-in-national-museum",
"title": "Black American Journey Finally Enshrined in National Museum",
"publishDate": 1474501078,
"format": "standard",
"headTitle": "Black American Journey Finally Enshrined in National Museum | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When the Smithsonian Museum of African-American History and Culture opens this week alongside the Washington Monument and the National Museum of American History, it will firmly — and finally — anchor the black experience in the nation’s narrative.\u003c/p>\n\u003cp>“In 1915 they say, ‘There should be a monument. There should be a memorial that honors our contribution,'” said Michelle Wilkinson, one of the museum’s curators. “Not just a pile of stone, or a shaft. It needs to be a museum.”\u003c/p>\n\u003cp>Fifty years after the end of the Civil War, black citizens in Washington, D.C., formed the National Memorial Association with the purpose of “erecting a beautiful building, suitable to depict the Negro’s contribution to America.” It would be, they said, “a shrine for posterity.”\u003c/p>\n\u003cp>It has taken a century for their dream to be realized in Washington, a place visited by more than 20 million people from around the world who want to learn about the United States. During that time, other monuments and museums celebrating the stories of other Americans were proposed and built in the nation’s capital.\u003c/p>\n\u003cp>On Saturday, the long wait is over: America’s first black president and first lady will preside over the museum’s opening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thousands are expected to attend the museum’s inaugural weekend, and millions more will virtually experience the milestone via social media.\u003c/p>\n\u003cp>The imposing space on the National Mall likely will set visitor records. And in an era informed simultaneously by the historic election of President Barack Obama and a succession of killings of unarmed black men at the hands of police, it is a building that will affirm for many that black lives matter.\u003c/p>\n\u003cp>Its facade is unlike anything else in Washington. The building’s outward design — known as the Corona — features walls reaching skyward, evoking the resiliency, faith and hope that has sustained black Americans since they were brought to the country in bondage. Its three-tiered shape is inspired by a symbol from the Yoruba people of West Africa featuring a crown. The 3,600 bronze-colored panels surrounding the building are a tribute to the 19th-century ironwork created by slaves in New Orleans.\u003c/p>\n\u003cp>“The structure itself is imbued with meaning,” said Phil Freelon, the lead architect for the museum. “All these things are subtle. That’s intentional. It has a certain sense to it that is African-American, in the way that our culture is expressive in other areas. We believe architecture can evoke those sorts of emotions.”\u003c/p>\n\u003cp>It is a building that fulfills the original vision of the association members. In a letter addressed to state representatives across the country, the group pled their case for a national memorial, saying, “General memorials do not make the average American think of Negroes. Therefore, the failure to erect a special memorial may and probably will be interpreted as meaning that Negroes have made no great contribution to American advancement in war or in any other field.”\u003c/p>\n\u003cp>They went on to say: “It would be a splendid idea if all this could find a place in a public building in Washington where it would reflect the greatest possible good throughout the country.”\u003c/p>\n\u003cp>Washingtonians have watched the building rise from nothing on a grassy knoll at the bustling intersection of Constitution Avenue and 15th Street. Construction on the museum began in 2012, the same year Obama was re-elected to a second term. It will open four months before he is set to leave office.\u003c/p>\n\u003cp>Standing five stories high with 60 percent of the building below ground, the 400,000-square foot structure attempts to hold four centuries of black history. Visitors begin by descending to the basement and then walk up a series of ramps winding through the origins of slavery, to the bonds of Jim Crow, to an integrated society. Exhibits on the upper floors highlight the unique contributions of blacks to areas of American life, including the military, sports, music, the visual arts, film and television, business, the news media and religion.\u003c/p>\n\u003cp>Artifacts large and small fill the space, sure to evoke feelings of pain and pride from the collective memories of black visitors.\u003c/p>\n\u003cp>There are the ankle shackles that would have been used to restrain people who became slaves after crossing the Atlantic Ocean from the African continent to the Americas. A bill of sale for an enslaved 16-year-old girl named Polly, who was sold for $600 in Arkansas in 1835. A segregated Southern Railway passenger car that would have passed through Kentucky, Tennessee, Georgia and Florida. Glass shards and shotgun shells from the 16th Street Baptist Church in Birmingham, Alabama, where four little girls were killed in a racist bombing in 1963.\u003c/p>\n\u003cp>There also is a biplane used at Alabama’s Tuskegee Institute to train black pilots for Army Air Corps service during World War II. A vintage red Cadillac from rock-and-roll legend Chuck Berry’s personal collection. Harriet Tubman’s hymn book, circa 1876. Michael Jackson’s fedora.\u003c/p>\n\u003cp>Visitors can eat at a cafe featuring authentic black cuisines from four regions of the country: the agricultural South, the Creole coast, the North states, and the Western range. Dishes include Brunswick stew, shrimp and grits, an oyster pan roast, and rainbow trout stuffed with mustard greens.\u003c/p>\n\u003cp>Marcia Morris, a 12th-grade English teacher who lives in nearby Fairfax, Virginia, has closely followed news reports as the museum acquired rare treasures and opening day approached. “The closer it came to completion, the more real it became,” she said.\u003c/p>\n\u003cp>As construction progressed, Morris thought often of her deceased grandparents, who lived during segregation.\u003c/p>\n\u003cp>“A museum just dedicated to the history of black people? That was not in the realm of (my grandfather’s) thought process,” she said. “They weren’t educated. I know the things my grandparents went through. I think we owe something to that generation.”\u003c/p>\n\u003cp>Tickets to the museum are free, but visitors must make reservations for timed tours. Weekends already are booked through early December, and the museum has extended its hours to accommodate the increased demand.\u003c/p>\n\u003cp>Morris ordered tickets next month to coincide with her daughter’s 16th birthday, which she finds a fitting way to mark the occasion.\u003c/p>\n\u003cp>“They have a black president, people on television are black, black is cool to them and their friends,” Morris said of her daughter and son. “I don’t want them to ever not know what black people have gone through.”\u003c/p>\n\u003cp>When Dianne Washington travels south from Harlem to visit the museum at the end of October, she said will be making a trip that is overdue.\u003c/p>\n\u003cp>“We have contributed so much to this country, free of charge,” she said.\u003c/p>\n\u003cp>She is overjoyed that the moment is finally here.\u003c/p>\n\u003cp>“Everything was built on our backs,” she said. “Our ancestors suffered so much. Something should be in place to honor them and their story told properly. Why not us? I can’t wait.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Thousands are expected to attend the museum's opening, including America's first black president and first lady",
"status": "publish",
"parent": 0,
"modified": 1726709031,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 31,
"wordCount": 1224
},
"headData": {
"title": "Black American Journey Finally Enshrined in National Museum | KQED",
"description": "Thousands are expected to attend the museum's opening, including America's first black president and first lady",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Black American Journey Finally Enshrined in National Museum",
"datePublished": "2016-09-21T16:37:58-07:00",
"dateModified": "2024-09-18T18:23:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Errin Haines Whack, Associated Press",
"nprStoryId": "494947524",
"path": "/arts/12100395/black-american-journey-finally-enshrined-in-national-museum",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Smithsonian Museum of African-American History and Culture opens this week alongside the Washington Monument and the National Museum of American History, it will firmly — and finally — anchor the black experience in the nation’s narrative.\u003c/p>\n\u003cp>“In 1915 they say, ‘There should be a monument. There should be a memorial that honors our contribution,'” said Michelle Wilkinson, one of the museum’s curators. “Not just a pile of stone, or a shaft. It needs to be a museum.”\u003c/p>\n\u003cp>Fifty years after the end of the Civil War, black citizens in Washington, D.C., formed the National Memorial Association with the purpose of “erecting a beautiful building, suitable to depict the Negro’s contribution to America.” It would be, they said, “a shrine for posterity.”\u003c/p>\n\u003cp>It has taken a century for their dream to be realized in Washington, a place visited by more than 20 million people from around the world who want to learn about the United States. During that time, other monuments and museums celebrating the stories of other Americans were proposed and built in the nation’s capital.\u003c/p>\n\u003cp>On Saturday, the long wait is over: America’s first black president and first lady will preside over the museum’s opening.\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>Thousands are expected to attend the museum’s inaugural weekend, and millions more will virtually experience the milestone via social media.\u003c/p>\n\u003cp>The imposing space on the National Mall likely will set visitor records. And in an era informed simultaneously by the historic election of President Barack Obama and a succession of killings of unarmed black men at the hands of police, it is a building that will affirm for many that black lives matter.\u003c/p>\n\u003cp>Its facade is unlike anything else in Washington. The building’s outward design — known as the Corona — features walls reaching skyward, evoking the resiliency, faith and hope that has sustained black Americans since they were brought to the country in bondage. Its three-tiered shape is inspired by a symbol from the Yoruba people of West Africa featuring a crown. The 3,600 bronze-colored panels surrounding the building are a tribute to the 19th-century ironwork created by slaves in New Orleans.\u003c/p>\n\u003cp>“The structure itself is imbued with meaning,” said Phil Freelon, the lead architect for the museum. “All these things are subtle. That’s intentional. It has a certain sense to it that is African-American, in the way that our culture is expressive in other areas. We believe architecture can evoke those sorts of emotions.”\u003c/p>\n\u003cp>It is a building that fulfills the original vision of the association members. In a letter addressed to state representatives across the country, the group pled their case for a national memorial, saying, “General memorials do not make the average American think of Negroes. Therefore, the failure to erect a special memorial may and probably will be interpreted as meaning that Negroes have made no great contribution to American advancement in war or in any other field.”\u003c/p>\n\u003cp>They went on to say: “It would be a splendid idea if all this could find a place in a public building in Washington where it would reflect the greatest possible good throughout the country.”\u003c/p>\n\u003cp>Washingtonians have watched the building rise from nothing on a grassy knoll at the bustling intersection of Constitution Avenue and 15th Street. Construction on the museum began in 2012, the same year Obama was re-elected to a second term. It will open four months before he is set to leave office.\u003c/p>\n\u003cp>Standing five stories high with 60 percent of the building below ground, the 400,000-square foot structure attempts to hold four centuries of black history. Visitors begin by descending to the basement and then walk up a series of ramps winding through the origins of slavery, to the bonds of Jim Crow, to an integrated society. Exhibits on the upper floors highlight the unique contributions of blacks to areas of American life, including the military, sports, music, the visual arts, film and television, business, the news media and religion.\u003c/p>\n\u003cp>Artifacts large and small fill the space, sure to evoke feelings of pain and pride from the collective memories of black visitors.\u003c/p>\n\u003cp>There are the ankle shackles that would have been used to restrain people who became slaves after crossing the Atlantic Ocean from the African continent to the Americas. A bill of sale for an enslaved 16-year-old girl named Polly, who was sold for $600 in Arkansas in 1835. A segregated Southern Railway passenger car that would have passed through Kentucky, Tennessee, Georgia and Florida. Glass shards and shotgun shells from the 16th Street Baptist Church in Birmingham, Alabama, where four little girls were killed in a racist bombing in 1963.\u003c/p>\n\u003cp>There also is a biplane used at Alabama’s Tuskegee Institute to train black pilots for Army Air Corps service during World War II. A vintage red Cadillac from rock-and-roll legend Chuck Berry’s personal collection. Harriet Tubman’s hymn book, circa 1876. Michael Jackson’s fedora.\u003c/p>\n\u003cp>Visitors can eat at a cafe featuring authentic black cuisines from four regions of the country: the agricultural South, the Creole coast, the North states, and the Western range. Dishes include Brunswick stew, shrimp and grits, an oyster pan roast, and rainbow trout stuffed with mustard greens.\u003c/p>\n\u003cp>Marcia Morris, a 12th-grade English teacher who lives in nearby Fairfax, Virginia, has closely followed news reports as the museum acquired rare treasures and opening day approached. “The closer it came to completion, the more real it became,” she said.\u003c/p>\n\u003cp>As construction progressed, Morris thought often of her deceased grandparents, who lived during segregation.\u003c/p>\n\u003cp>“A museum just dedicated to the history of black people? That was not in the realm of (my grandfather’s) thought process,” she said. “They weren’t educated. I know the things my grandparents went through. I think we owe something to that generation.”\u003c/p>\n\u003cp>Tickets to the museum are free, but visitors must make reservations for timed tours. Weekends already are booked through early December, and the museum has extended its hours to accommodate the increased demand.\u003c/p>\n\u003cp>Morris ordered tickets next month to coincide with her daughter’s 16th birthday, which she finds a fitting way to mark the occasion.\u003c/p>\n\u003cp>“They have a black president, people on television are black, black is cool to them and their friends,” Morris said of her daughter and son. “I don’t want them to ever not know what black people have gone through.”\u003c/p>\n\u003cp>When Dianne Washington travels south from Harlem to visit the museum at the end of October, she said will be making a trip that is overdue.\u003c/p>\n\u003cp>“We have contributed so much to this country, free of charge,” she said.\u003c/p>\n\u003cp>She is overjoyed that the moment is finally here.\u003c/p>\n\u003cp>“Everything was built on our backs,” she said. “Our ancestors suffered so much. Something should be in place to honor them and their story told properly. Why not us? I can’t wait.”\u003c/p>\n\u003cp>___\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>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12100395/black-american-journey-finally-enshrined-in-national-museum",
"authors": [
"byline_arts_12100395"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1254",
"arts_596",
"arts_1427"
],
"featImg": "arts_12100592",
"label": "arts"
},
"arts_12095101": {
"type": "posts",
"id": "arts_12095101",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12095101",
"score": null,
"sort": [
1474401149000
]
},
"guestAuthors": [],
"slug": "tom-waits-john-prine-kathleen-brennan-receive-songwriting-awards",
"title": "Tom Waits, John Prine, Kathleen Brennan Receive Songwriting Awards",
"publishDate": 1474401149,
"format": "standard",
"headTitle": "Tom Waits, John Prine, Kathleen Brennan Receive Songwriting Awards | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Luminaries from the film, music and writing worlds honored Tom Waits and folk singer John Prine for their songwriting at the Song Lyrics of Literary Excellence Awards on Monday. Waits’ wife, Kathleen Brennan, also was honored.\u003c/p>\n\u003cp>John Mellencamp, Elvis Costello and Roseanne Cash took turns performing renditions of the artists’ songs before a crowd of more than 500 people at the John F. Kennedy Presidential Library and Museum.\u003c/p>\n\u003cp>Mellencamp opened the ceremony with an a cappella version of Prine’s 1978 song “Sabu Visits the Twin Cities Alone,” which imagines the later years of an Indian child actor from the early 1940s. Mellencamp called the lyrics “sophisticated but simple.”\u003c/p>\n\u003cp>“Who writes songs like that?” he said. “Two people come to mind — God and John Prine.”\u003c/p>\n\u003cp>Irish author Colum McCann, director Jim Jarmusch, country singer Sturgill Simpson and Peter Wolf of the J. Geils Band reflected on the artists’ accomplishments in remarks that ranged from personal to poetic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCann described Waits and Brennan as “patriots of elsewhere” who stay “close to the ground” and “hear things that no one else hears.”\u003c/p>\n\u003cp>“They find out what others have not quite fathomed yet,” he said. “They catch the ordinary so that it can be sung extraordinarily in the future.”\u003c/p>\n\u003cp>Waits and Prine each treated the crowd to a song after giving brief remarks.\u003c/p>\n\u003cp>Prine, whose voice has become deep and raspy following a battle with cancer that required removal of part of his neck, said he was “stunned” by the honor.\u003c/p>\n\u003cp>Waits reflected on working with Brennan, his longtime musical collaborator, who became the first woman to win the award since it was introduced in 2012.\u003c/p>\n\u003cp>“It’s not always fun writing together,” Waits said in a humorous, sometimes rambling speech. “Sometimes the fur flies. It’s not an easy enterprise, but it’s satisfying.”\u003c/p>\n\u003cp>Brennan, speaking briefly before her husband, said she has a “lay low” personality and isn’t always accustomed to the spotlight.\u003c/p>\n\u003cp>Waits and Prine, now in their late 60s, emerged in the 1970s and have been performing for decades. Waits gained notoriety for his blend of jazz, blues and folk music and his distinctive growl. Prine wrote many songs that have become folk and country standards.\u003c/p>\n\u003cp>Cash, joined by Costello on acoustic guitar, performed one of those, “Hello in There,” about old age and loneliness, from Prine’s 1971 debut album.\u003c/p>\n\u003cp>The Song Lyrics of Literary Excellence Award is bestowed biennially by the writers’ group PEN New England. This year’s honorees were chosen by a committee that included U2’s Bono, Cash, Costello and Salman Rushdie.\u003c/p>\n\u003cp>The first awards were given to Chuck Berry and Leonard Cohen in 2012. The 2014 awards went to Kris Kristofferson and Randy Newman.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Luminaries from the film, music and writing worlds honored them at the Song Lyrics of Literary Excellence Awards",
"status": "publish",
"parent": 0,
"modified": 1726709037,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 504
},
"headData": {
"title": "Tom Waits, John Prine, Kathleen Brennan Receive Songwriting Awards | KQED",
"description": "Luminaries from the film, music and writing worlds honored them at the Song Lyrics of Literary Excellence Awards",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tom Waits, John Prine, Kathleen Brennan Receive Songwriting Awards",
"datePublished": "2016-09-20T12:52:29-07:00",
"dateModified": "2024-09-18T18:23:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Philip Marcelo, Associated Press",
"nprStoryId": "494765645",
"path": "/arts/12095101/tom-waits-john-prine-kathleen-brennan-receive-songwriting-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luminaries from the film, music and writing worlds honored Tom Waits and folk singer John Prine for their songwriting at the Song Lyrics of Literary Excellence Awards on Monday. Waits’ wife, Kathleen Brennan, also was honored.\u003c/p>\n\u003cp>John Mellencamp, Elvis Costello and Roseanne Cash took turns performing renditions of the artists’ songs before a crowd of more than 500 people at the John F. Kennedy Presidential Library and Museum.\u003c/p>\n\u003cp>Mellencamp opened the ceremony with an a cappella version of Prine’s 1978 song “Sabu Visits the Twin Cities Alone,” which imagines the later years of an Indian child actor from the early 1940s. Mellencamp called the lyrics “sophisticated but simple.”\u003c/p>\n\u003cp>“Who writes songs like that?” he said. “Two people come to mind — God and John Prine.”\u003c/p>\n\u003cp>Irish author Colum McCann, director Jim Jarmusch, country singer Sturgill Simpson and Peter Wolf of the J. Geils Band reflected on the artists’ accomplishments in remarks that ranged from personal to poetic.\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>McCann described Waits and Brennan as “patriots of elsewhere” who stay “close to the ground” and “hear things that no one else hears.”\u003c/p>\n\u003cp>“They find out what others have not quite fathomed yet,” he said. “They catch the ordinary so that it can be sung extraordinarily in the future.”\u003c/p>\n\u003cp>Waits and Prine each treated the crowd to a song after giving brief remarks.\u003c/p>\n\u003cp>Prine, whose voice has become deep and raspy following a battle with cancer that required removal of part of his neck, said he was “stunned” by the honor.\u003c/p>\n\u003cp>Waits reflected on working with Brennan, his longtime musical collaborator, who became the first woman to win the award since it was introduced in 2012.\u003c/p>\n\u003cp>“It’s not always fun writing together,” Waits said in a humorous, sometimes rambling speech. “Sometimes the fur flies. It’s not an easy enterprise, but it’s satisfying.”\u003c/p>\n\u003cp>Brennan, speaking briefly before her husband, said she has a “lay low” personality and isn’t always accustomed to the spotlight.\u003c/p>\n\u003cp>Waits and Prine, now in their late 60s, emerged in the 1970s and have been performing for decades. Waits gained notoriety for his blend of jazz, blues and folk music and his distinctive growl. Prine wrote many songs that have become folk and country standards.\u003c/p>\n\u003cp>Cash, joined by Costello on acoustic guitar, performed one of those, “Hello in There,” about old age and loneliness, from Prine’s 1971 debut album.\u003c/p>\n\u003cp>The Song Lyrics of Literary Excellence Award is bestowed biennially by the writers’ group PEN New England. This year’s honorees were chosen by a committee that included U2’s Bono, Cash, Costello and Salman Rushdie.\u003c/p>\n\u003cp>The first awards were given to Chuck Berry and Leonard Cohen in 2012. The 2014 awards went to Kris Kristofferson and Randy Newman.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12095101/tom-waits-john-prine-kathleen-brennan-receive-songwriting-awards",
"authors": [
"byline_arts_12095101"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"featImg": "arts_12095285",
"label": "arts"
},
"arts_12090685": {
"type": "posts",
"id": "arts_12090685",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12090685",
"score": null,
"sort": [
1474309837000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1474309837,
"format": "standard",
"title": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due",
"headTitle": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due | KQED",
"content": "\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Bokeem Woodbine (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kathy Bates (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Olivia Colman (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Regina King (\u003cem>American Crime\u003c/em>)\u003c/strong>\u003cbr>Melissa Leo (\u003cem>All the Way\u003c/em>)\u003cbr>Sarah Paulson (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Jean Smart (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hank Azaria (\u003cem>Ray Donovan\u003c/em>)\u003cbr>\u003c/strong>Mahershala Ali (\u003cem>House of Cards\u003c/em>)\u003cbr>Reg E. Cathey (\u003cem>House of Cards\u003c/em>)\u003cbr>Michael J. Fox (\u003cem>The Good Wife\u003c/em>)\u003cbr>Paul Sparks (\u003cem>House of Cards\u003c/em>)\u003cbr>Max von Sydow (\u003cem>Game of Thrones\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Margo Martindale (\u003cem>The Americans\u003c/em>)\u003cbr>\u003c/strong>Ellen Burstyn (\u003cem>House of Cards\u003c/em>)\u003cbr>Allison Janney (\u003cem>Masters of Sex\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>Horace and Pete\u003c/em>)\u003cbr>Molly Parker (\u003cem>House of Cards\u003c/em>)\u003cbr>Carrie Preston (\u003cem>The Good Wife\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Outstanding Guest Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Scolari (\u003cem>Girls\u003c/em>)\u003cbr>\u003c/strong>Larry David (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Tracy Morgan (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Martin Mull (\u003cem>Veep\u003c/em>)\u003cbr>Bob Newhart (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Bradley Whitford (\u003cem>Transparent\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tina Fey & Amy Poehler (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>\u003c/strong>Christine Baranski (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Melora Hardin (\u003cem>Transparent\u003c/em>)\u003cbr>Melissa McCarthy (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Saturday Night Live\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Talk Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Comedians in Cars Getting Coffee \u003c/em>(Crackle)\u003cbr>\u003cem>Jimmy Kimmel Live!\u003c/em> (ABC)\u003cbr>\u003cstrong>\u003cem>Last Week Tonight With John Oliver\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>The Late Late Show with James Corden\u003c/em> (CBS)\u003cbr>\u003cem>Real Time With Bill Maher\u003c/em> (HBO)\u003cbr>\u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Variety Show\u003c/strong>\u003c/p>\n\u003cp>Beth McCarthy-Miller (\u003cem>Adele Live In New York City\u003c/em>)\u003cbr>Chris Rock (\u003cem>Amy Schumer: Live At The Apollo\u003c/em>)\u003cbr>\u003cstrong>Thomas Kail and Alex Rudzinski (\u003cem>Grease: Live\u003c/em>)\u003cbr>\u003c/strong>Louis J. Horvitz (\u003cem>58th Grammy Awards\u003c/em>)\u003cbr>Glenn Weiss (\u003cem>The Kennedy Center Honors\u003c/em>)\u003cbr>Kahlil Joseph, Beyoncé Knowles Carter (\u003cem>Lemonade\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Variety Sketch Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Documentary Now! \u003c/em>(IFC)\u003cem>\u003cbr>\u003c/em>\u003cem>Drunk History\u003c/em> (Comedy Central)\u003cbr>\u003cem>Inside Amy Schumer\u003c/em> (Comedy Central)\u003cbr>\u003cstrong>\u003cem>Key & Peele\u003c/em> (Comedy Central)\u003c/strong>\u003cbr>\u003cem>Portlandia\u003c/em> (IFC)\u003cbr>\u003cem>Saturday Night Live\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Special Class Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grease Live!\u003c/em> (FOX)\u003cbr>\u003c/strong>73rd Golden Globe Awards (NBC)\u003cbr>\u003cem>The Oscars\u003c/em> (ABC)\u003cbr>\u003cem>Super Bowl 50 Halftime Show\u003c/em> (CBS)\u003cbr>\u003cem>69th Annual Tony Awards\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Late Late Show Carpool Karaoke Prime Time Special \u003c/em>(CBS) (WINNER)\u003cbr>\u003c/strong>\u003cem>Adele Live in New York City\u003c/em> (NBC)\u003cbr>\u003cem>Amy Schumer: Live at the Apollo\u003c/em> (HBO)\u003cbr>\u003cem>Kennedy Center Honors\u003c/em> (CBS)\u003cbr>\u003cem>Lemonade\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Reality-Competition Program\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Amazing Race\u003c/em> (CBS)\u003cbr>\u003cem>American Ninja Warrior\u003c/em> (NBC)\u003cbr>\u003cem>Dancing With the Stars\u003c/em> (ABC)\u003cbr>\u003cem>Project Runway\u003c/em> (Lifetime)\u003cbr>\u003cem>Top Chef\u003c/em> (Bravo)\u003cbr>\u003cstrong>\u003cem>The Voice\u003c/em> (NBC)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Outstanding Host for a Reality or Reality-Competition\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>RuPaul Charles (\u003cem>RuPaul’s Drag Race\u003c/em>)\u003cbr>\u003c/strong>Ryan Seacrest (\u003cem>American Idol\u003c/em>)\u003cbr>Tom Bergeron (\u003cem>Dancing With the Stars\u003c/em>)\u003cbr>Jane Lynch (\u003cem>Hollywood Game Night\u003c/em>)\u003cbr>Steve Harvey (\u003cem>Little Big Shots\u003c/em>)\u003cbr>Heidi Klum and Tim Gunn (\u003cem>Project Runway\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Structured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Shark Tank\u003c/em> (ABC)\u003cbr>\u003c/strong>\u003cem>Antiques Roadshow\u003c/em> (PBS)\u003cbr>\u003cem>Diners, Drive-Ins and Dives\u003c/em> (Food Network)\u003cbr>\u003cem>Lip Sync Battle\u003c/em> (Spike)\u003cbr>\u003cem>MythBusters\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Undercover Boss\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Unstructured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Born This Way\u003c/em>\u003c/strong>\u003cstrong> (A&E)\u003cbr>\u003c/strong>\u003cem>Deadliest Catch\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Gaycation With Ellen Page\u003c/em> (Viceland)\u003cbr>\u003cem>Intervention\u003c/em> (A&E)\u003cbr>\u003cem>Project Greenlight\u003c/em> (HBO)\u003cbr>\u003cem>United Shades of America\u003c/em> (CNN)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What Happened, Miss Simone?\u003c/em> (Netflix)\u003cbr>\u003c/strong>\u003cem>Becoming Mike Nichols\u003c/em> (HBO)\u003cbr>\u003cem>Everything is Copy — Nora Ephron: Scripted & Unscripted\u003c/em> (HBO)\u003cbr>\u003cem>Listen to Me Marlon\u003c/em> (Showtime)\u003cbr>\u003cem>Mapplethorpe: Look at the Pictures\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making a Murderer\u003c/em>\u003c/strong>\u003cstrong> (Netflix)\u003cbr>\u003c/strong>\u003cem>American Masters\u003c/em> (PBS)\u003cbr>\u003cem>Chef’s Table\u003c/em> (Netflix)\u003cbr>\u003cem>The Seventies\u003c/em> (CNN)\u003cbr>\u003cem>Woman With Gloria Steinem\u003c/em> (Viceland)\u003c/p>\n\u003cp>\u003cstrong>Best Limited Series \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The People v. OJ Simpson\u003cbr>\u003c/em>\u003c/strong>\u003cem>American Crime\u003cbr>\u003c/em>\u003cem>Fargo\u003cbr>\u003c/em>\u003cem>The Night Manager\u003cbr>\u003c/em>\u003cem>Roots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Variety Special\u003c/strong> \u003cstrong>\u003cbr> Patton Oswalt (\u003cem>Talking For Clapping)\u003cbr>\u003c/em>\u003c/strong>\u003cem>Amy Schumer (Amy Schumer: Live At The Apollo)\u003cbr>\u003c/em>\u003cem>John Mulaney (John Mulaney: The Comeback Kid)\u003cbr>\u003c/em>\u003cem>Tig Notaro (Tig Notaro: Boyish Girl Interrupted)\u003cbr>\u003c/em>\u003cem>(Triumph’s Election Special 2016)\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cstrong>Best Informational Series or Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>\u003cem>Anthony Bourdain: Parts Unknown\u003c/em> (CNN)\u003cbr>\u003c/strong>\u003cem>Inside the Actors Studio\u003c/em> (Bravo)\u003cbr>\u003cem>Star Talk With Neil deGrasse Tyson\u003c/em> (National Geographic Channel)\u003cbr>\u003cem>The Story of God With Morgan Freeman\u003c/em> (National Geographic Channel)\u003cbr>\u003cem>Vice\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans, “\u003c/em>Persona Non Grata”\u003cem> \u003c/em>(FX), Written by Joel fields, Joe Weisenberg\u003cbr>\u003cem>Downton Abbey, “\u003c/em>Episode 8″\u003cem> \u003c/em>(PBS), Writen by Julian Fellowes\u003cbr>\u003cstrong>\u003cem>Game of Thrones, “\u003c/em>Battle Of The Bastards”\u003cem> \u003c/em>(HBO), Written by David Benioff, D.B. Weiss\u003c/strong>\u003cbr>\u003cem>The Good Wife, “\u003c/em>End”\u003cem> \u003c/em>(CBS), Written by Robert King, Michelle King\u003cbr>\u003cem>Mr. Robot, “\u003c/em>eps1.0_hellofriend.mov”\u003cem> \u003c/em>(USA), Written by Sam Esmail\u003cbr>\u003cem>UnREAL, “\u003c/em>Return”\u003cem> \u003c/em>(Lifetime), Written by Marti Noxon, Sarah Gertrude Shapiro\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Catastrophe,\u003c/em> “Episode 1” (Amazon), Written by Rob Delaney, Sharon Horgan\u003cbr>\u003cstrong>\u003cem>Master of None,\u003c/em> “Parents” (Netflix), Written by Aziz Ansari, Alan Yang\u003c/strong>\u003cbr>\u003cem>Silicon Valley,\u003c/em> “Founder Friendly” (HBO), Written by Dan O’Keefe\u003cbr>\u003cem>Sillicon Valley,\u003c/em> “The Uptick” (HBO), Written by Alec Berg\u003cbr>\u003cem>Veep\u003c/em>\u003cem>,\u003c/em> “Morning After” (HBO), Written by Alec Berg\u003cbr>\u003cem>Veep\u003c/em>\u003cem>,\u003c/em> “Mother”(HBO), Written by Alex Gregory, Peter Huyck \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Juggernauts+Repeat+At+2016+Emmys%2C+But+Fresh+Faces+Get+Their+Due&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2284,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 98
},
"modified": 1705032997,
"excerpt": "'Game of Thrones', 'Veep' and 'The People v. O.J. Simpson' won for best drama, comedy and limited series — but some new names made splashes, too. NPR's pop culture crew live-tweeted the night's festivities.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Game of Thrones', 'Veep' and 'The People v. O.J. Simpson' won for best drama, comedy and limited series — but some new names made splashes, too. NPR's pop culture crew live-tweeted the night's festivities.",
"title": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due",
"datePublished": "2016-09-19T11:30:37-07:00",
"dateModified": "2024-01-11T20:16:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "juggernauts-repeat-at-2016-emmys-but-fresh-faces-get-their-due",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=494240682&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Sun, 18 Sep 2016 19:40:00 -0400",
"nprLastModifiedDate": "Mon, 19 Sep 2016 11:21:03 -0400",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/09/18/494240682/small-screen-titans-take-the-stage-at-the-emmys-our-live-blog?ft=nprml&f=494240682",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2016/09/20160919_me_juggernauts_repeat_at_2016_emmys_but_fresh_faces_get_their_due.mp3?orgId=1&topicId=1138&d=199&p=3&story=494240682&t=progseg&e=494530018&seg=9&ft=nprml&f=494240682",
"nprImageAgency": "FilmMagic/Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1494538543-41d162.m3u?orgId=1&topicId=1138&d=199&p=3&story=494240682&t=progseg&e=494530018&seg=9&ft=nprml&f=494240682",
"nprStoryId": "494240682",
"nprByline": "Colin Dwyer",
"sticky": false,
"nprImageCredit": "Gabriel Olsen",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 19 Sep 2016 11:21:00 -0400",
"path": "/arts/12090685/juggernauts-repeat-at-2016-emmys-but-fresh-faces-get-their-due",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2016/09/20160919_me_juggernauts_repeat_at_2016_emmys_but_fresh_faces_get_their_due.mp3?orgId=1&topicId=1138&d=199&p=3&story=494240682&t=progseg&e=494530018&seg=9&ft=nprml&f=494240682",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\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 comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Bokeem Woodbine (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kathy Bates (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Olivia Colman (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Regina King (\u003cem>American Crime\u003c/em>)\u003c/strong>\u003cbr>Melissa Leo (\u003cem>All the Way\u003c/em>)\u003cbr>Sarah Paulson (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Jean Smart (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hank Azaria (\u003cem>Ray Donovan\u003c/em>)\u003cbr>\u003c/strong>Mahershala Ali (\u003cem>House of Cards\u003c/em>)\u003cbr>Reg E. Cathey (\u003cem>House of Cards\u003c/em>)\u003cbr>Michael J. Fox (\u003cem>The Good Wife\u003c/em>)\u003cbr>Paul Sparks (\u003cem>House of Cards\u003c/em>)\u003cbr>Max von Sydow (\u003cem>Game of Thrones\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Margo Martindale (\u003cem>The Americans\u003c/em>)\u003cbr>\u003c/strong>Ellen Burstyn (\u003cem>House of Cards\u003c/em>)\u003cbr>Allison Janney (\u003cem>Masters of Sex\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>Horace and Pete\u003c/em>)\u003cbr>Molly Parker (\u003cem>House of Cards\u003c/em>)\u003cbr>Carrie Preston (\u003cem>The Good Wife\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Outstanding Guest Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Scolari (\u003cem>Girls\u003c/em>)\u003cbr>\u003c/strong>Larry David (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Tracy Morgan (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Martin Mull (\u003cem>Veep\u003c/em>)\u003cbr>Bob Newhart (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Bradley Whitford (\u003cem>Transparent\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tina Fey & Amy Poehler (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>\u003c/strong>Christine Baranski (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Melora Hardin (\u003cem>Transparent\u003c/em>)\u003cbr>Melissa McCarthy (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Saturday Night Live\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Talk Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Comedians in Cars Getting Coffee \u003c/em>(Crackle)\u003cbr>\u003cem>Jimmy Kimmel Live!\u003c/em> (ABC)\u003cbr>\u003cstrong>\u003cem>Last Week Tonight With John Oliver\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>The Late Late Show with James Corden\u003c/em> (CBS)\u003cbr>\u003cem>Real Time With Bill Maher\u003c/em> (HBO)\u003cbr>\u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Variety Show\u003c/strong>\u003c/p>\n\u003cp>Beth McCarthy-Miller (\u003cem>Adele Live In New York City\u003c/em>)\u003cbr>Chris Rock (\u003cem>Amy Schumer: Live At The Apollo\u003c/em>)\u003cbr>\u003cstrong>Thomas Kail and Alex Rudzinski (\u003cem>Grease: Live\u003c/em>)\u003cbr>\u003c/strong>Louis J. Horvitz (\u003cem>58th Grammy Awards\u003c/em>)\u003cbr>Glenn Weiss (\u003cem>The Kennedy Center Honors\u003c/em>)\u003cbr>Kahlil Joseph, Beyoncé Knowles Carter (\u003cem>Lemonade\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Variety Sketch Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Documentary Now! \u003c/em>(IFC)\u003cem>\u003cbr>\u003c/em>\u003cem>Drunk History\u003c/em> (Comedy Central)\u003cbr>\u003cem>Inside Amy Schumer\u003c/em> (Comedy Central)\u003cbr>\u003cstrong>\u003cem>Key & Peele\u003c/em> (Comedy Central)\u003c/strong>\u003cbr>\u003cem>Portlandia\u003c/em> (IFC)\u003cbr>\u003cem>Saturday Night Live\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Special Class Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grease Live!\u003c/em> (FOX)\u003cbr>\u003c/strong>73rd Golden Globe Awards (NBC)\u003cbr>\u003cem>The Oscars\u003c/em> (ABC)\u003cbr>\u003cem>Super Bowl 50 Halftime Show\u003c/em> (CBS)\u003cbr>\u003cem>69th Annual Tony Awards\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Late Late Show Carpool Karaoke Prime Time Special \u003c/em>(CBS) (WINNER)\u003cbr>\u003c/strong>\u003cem>Adele Live in New York City\u003c/em> (NBC)\u003cbr>\u003cem>Amy Schumer: Live at the Apollo\u003c/em> (HBO)\u003cbr>\u003cem>Kennedy Center Honors\u003c/em> (CBS)\u003cbr>\u003cem>Lemonade\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Reality-Competition Program\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Amazing Race\u003c/em> (CBS)\u003cbr>\u003cem>American Ninja Warrior\u003c/em> (NBC)\u003cbr>\u003cem>Dancing With the Stars\u003c/em> (ABC)\u003cbr>\u003cem>Project Runway\u003c/em> (Lifetime)\u003cbr>\u003cem>Top Chef\u003c/em> (Bravo)\u003cbr>\u003cstrong>\u003cem>The Voice\u003c/em> (NBC)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Outstanding Host for a Reality or Reality-Competition\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>RuPaul Charles (\u003cem>RuPaul’s Drag Race\u003c/em>)\u003cbr>\u003c/strong>Ryan Seacrest (\u003cem>American Idol\u003c/em>)\u003cbr>Tom Bergeron (\u003cem>Dancing With the Stars\u003c/em>)\u003cbr>Jane Lynch (\u003cem>Hollywood Game Night\u003c/em>)\u003cbr>Steve Harvey (\u003cem>Little Big Shots\u003c/em>)\u003cbr>Heidi Klum and Tim Gunn (\u003cem>Project Runway\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Structured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Shark Tank\u003c/em> (ABC)\u003cbr>\u003c/strong>\u003cem>Antiques Roadshow\u003c/em> (PBS)\u003cbr>\u003cem>Diners, Drive-Ins and Dives\u003c/em> (Food Network)\u003cbr>\u003cem>Lip Sync Battle\u003c/em> (Spike)\u003cbr>\u003cem>MythBusters\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Undercover Boss\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Unstructured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Born This Way\u003c/em>\u003c/strong>\u003cstrong> (A&E)\u003cbr>\u003c/strong>\u003cem>Deadliest Catch\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Gaycation With Ellen Page\u003c/em> (Viceland)\u003cbr>\u003cem>Intervention\u003c/em> (A&E)\u003cbr>\u003cem>Project Greenlight\u003c/em> (HBO)\u003cbr>\u003cem>United Shades of America\u003c/em> (CNN)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What Happened, Miss Simone?\u003c/em> (Netflix)\u003cbr>\u003c/strong>\u003cem>Becoming Mike Nichols\u003c/em> (HBO)\u003cbr>\u003cem>Everything is Copy — Nora Ephron: Scripted & Unscripted\u003c/em> (HBO)\u003cbr>\u003cem>Listen to Me Marlon\u003c/em> (Showtime)\u003cbr>\u003cem>Mapplethorpe: Look at the Pictures\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making a Murderer\u003c/em>\u003c/strong>\u003cstrong> (Netflix)\u003cbr>\u003c/strong>\u003cem>American Masters\u003c/em> (PBS)\u003cbr>\u003cem>Chef’s Table\u003c/em> (Netflix)\u003cbr>\u003cem>The Seventies\u003c/em> (CNN)\u003cbr>\u003cem>Woman With Gloria Steinem\u003c/em> (Viceland)\u003c/p>\n\u003cp>\u003cstrong>Best Limited Series \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The People v. OJ Simpson\u003cbr>\u003c/em>\u003c/strong>\u003cem>American Crime\u003cbr>\u003c/em>\u003cem>Fargo\u003cbr>\u003c/em>\u003cem>The Night Manager\u003cbr>\u003c/em>\u003cem>Roots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Variety Special\u003c/strong> \u003cstrong>\u003cbr> Patton Oswalt (\u003cem>Talking For Clapping)\u003cbr>\u003c/em>\u003c/strong>\u003cem>Amy Schumer (Amy Schumer: Live At The Apollo)\u003cbr>\u003c/em>\u003cem>John Mulaney (John Mulaney: The Comeback Kid)\u003cbr>\u003c/em>\u003cem>Tig Notaro (Tig Notaro: Boyish Girl Interrupted)\u003cbr>\u003c/em>\u003cem>(Triumph’s Election Special 2016)\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cstrong>Best Informational Series or Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>\u003cem>Anthony Bourdain: Parts Unknown\u003c/em> (CNN)\u003cbr>\u003c/strong>\u003cem>Inside the Actors Studio\u003c/em> (Bravo)\u003cbr>\u003cem>Star Talk With Neil deGrasse Tyson\u003c/em> (National Geographic Channel)\u003cbr>\u003cem>The Story of God With Morgan Freeman\u003c/em> (National Geographic Channel)\u003cbr>\u003cem>Vice\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans, “\u003c/em>Persona Non Grata”\u003cem> \u003c/em>(FX), Written by Joel fields, Joe Weisenberg\u003cbr>\u003cem>Downton Abbey, “\u003c/em>Episode 8″\u003cem> \u003c/em>(PBS), Writen by Julian Fellowes\u003cbr>\u003cstrong>\u003cem>Game of Thrones, “\u003c/em>Battle Of The Bastards”\u003cem> \u003c/em>(HBO), Written by David Benioff, D.B. Weiss\u003c/strong>\u003cbr>\u003cem>The Good Wife, “\u003c/em>End”\u003cem> \u003c/em>(CBS), Written by Robert King, Michelle King\u003cbr>\u003cem>Mr. Robot, “\u003c/em>eps1.0_hellofriend.mov”\u003cem> \u003c/em>(USA), Written by Sam Esmail\u003cbr>\u003cem>UnREAL, “\u003c/em>Return”\u003cem> \u003c/em>(Lifetime), Written by Marti Noxon, Sarah Gertrude Shapiro\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Catastrophe,\u003c/em> “Episode 1” (Amazon), Written by Rob Delaney, Sharon Horgan\u003cbr>\u003cstrong>\u003cem>Master of None,\u003c/em> “Parents” (Netflix), Written by Aziz Ansari, Alan Yang\u003c/strong>\u003cbr>\u003cem>Silicon Valley,\u003c/em> “Founder Friendly” (HBO), Written by Dan O’Keefe\u003cbr>\u003cem>Sillicon Valley,\u003c/em> “The Uptick” (HBO), Written by Alec Berg\u003cbr>\u003cem>Veep\u003c/em>\u003cem>,\u003c/em> “Morning After” (HBO), Written by Alec Berg\u003cbr>\u003cem>Veep\u003c/em>\u003cem>,\u003c/em> “Mother”(HBO), Written by Alex Gregory, Peter Huyck \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Juggernauts+Repeat+At+2016+Emmys%2C+But+Fresh+Faces+Get+Their+Due&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12090685/juggernauts-repeat-at-2016-emmys-but-fresh-faces-get-their-due",
"authors": [
"byline_arts_12090685"
],
"categories": [
"arts_74",
"arts_235",
"arts_75",
"arts_990"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12090686",
"label": "arts_137"
},
"pop_37696": {
"type": "posts",
"id": "pop_37696",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "37696",
"score": null,
"sort": [
1474321394000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1474321394,
"format": "standard",
"disqusTitle": "WATCH: The Four Best Political Moments From The Emmys",
"title": "WATCH: The Four Best Political Moments From The Emmys",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>As further proof that this presidential campaign is everywhere, Sunday night's Emmys stage featured several nods to the candidates as well as the current political climate. Here are some highlights:\u003c/p>\n\u003cp>\u003cstrong>1. Julia Louis-Dreyfus' wall\u003c/strong>\u003c/p>\n\u003cp>Accepting an Emmy for outstanding lead actress in a comedy, the \u003cem>Veep\u003c/em> star issued a \"personal apology\" for today's political climate and made light of Donald Trump's proposal to build a wall at the U.S.-Mexico border. \"Our show started out as a political satire, but it now feels more like a sobering documentary,\" she said. \"So I certainly do promise to rebuild that wall and make Mexico pay for it.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DaCLhIaqimY\u003c/p>\n\u003cp>\u003cstrong>2. Jeb! is back\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former Florida Gov. Jeb Bush, who floundered in the presidential primary, came back Sunday night as an Uber driver to host Jimmy Kimmel (\"I'm in between jobs right now,\" Bush says). The scene was part of Kimmel's opening monologue in which he's trying to get to the ceremony. Bush picks him up, then kicks him out of the car and speeds off, poking fun at the negativity of the race along the way:\u003c/p>\n\u003cblockquote>\u003cp>Bush: Are you nominated?\u003c/p>\n\u003cp>Kimmel: I am, yeah.\u003c/p>\n\u003cp>Bush: Wow, what's that like?\u003c/p>\n\u003cp>Kimmel: It's nice, it's nice.\u003c/p>\n\u003cp>Bush: You think you can win?\u003c/p>\n\u003cp>Kimmel: There's a lot of competition. And, probably not.\u003c/p>\n\u003cp>Bush: Well, here's what I know. If you run a positive campaign, the voters ultimately will make the right choice.\u003c/p>\n\u003cp>Kimmel: It's funny you say that, my psychic —\u003c/p>\n\u003cp>Bush: Jimmy, that was a joke. Get out of the car. And shave that wig off your face you godless Hollywood hippie. Jeb exclamation point!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r54CqBhoIjk\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>3. Kate McKinnon thanks Hillary Clinton\u003c/strong>\u003c/p>\n\u003cp>SNL's McKinnon, who has portrayed Clinton on the show, won for outstanding supporting actress in a comedy series. She thanked Hillary Clinton in her speech. Here's a throwback to McKinnon and Clinton on the show together:\u003c/p>\n\u003cp>http://www.hulu.com/watch/852289\u003c/p>\n\u003cp>\u003cstrong>4. \"Obama out\"\u003c/strong>\u003c/p>\n\u003cp>Courtney B. Vance won an Emmy for his performance as lawyer Johnnie Cochran in \u003cem>The People v. O.J. Simpson\u003c/em>. After thanking his laundry list, he ended his speech with a (rather odd) shoutout: \"Obama out, Hillary in!\"\u003c/p>\n\u003cp>https://gifs.com/gif/2kMm5A\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+The+4+Best+Political+Moments+From+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
"disqusIdentifier": "37696 http://ww2.kqed.org/pop/?p=37696",
"disqusUrl": "https://ww2.kqed.org/pop/2016/09/19/watch-the-four-best-political-moments-from-the-emmys/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 406,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1474510019,
"excerpt": "Julia Louis-Dreyfus issued a personal apology for the political climate and Jeb Bush called Jimmy Kimmel a \"godless Hollywood hippie.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Julia Louis-Dreyfus issued a personal apology for the political climate and Jeb Bush called Jimmy Kimmel a "godless Hollywood hippie."",
"title": "WATCH: The Four Best Political Moments From The Emmys | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "WATCH: The Four Best Political Moments From The Emmys",
"datePublished": "2016-09-19T14:43:14-07:00",
"dateModified": "2016-09-21T19:06:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-the-four-best-political-moments-from-the-emmys",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=494570920&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Amita Kelly",
"nprStoryDate": "Mon, 19 Sep 2016 12:06:00 -0400",
"nprLastModifiedDate": "Mon, 19 Sep 2016 14:51:00 -0400",
"nprHtmlLink": "http://www.npr.org/2016/09/19/494570920/watch-the-4-best-political-moments-from-the-emmys?ft=nprml&f=494570920",
"nprStoryId": "494570920",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 19 Sep 2016 14:51:00 -0400",
"path": "/pop/37696/watch-the-four-best-political-moments-from-the-emmys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As further proof that this presidential campaign is everywhere, Sunday night's Emmys stage featured several nods to the candidates as well as the current political climate. Here are some highlights:\u003c/p>\n\u003cp>\u003cstrong>1. Julia Louis-Dreyfus' wall\u003c/strong>\u003c/p>\n\u003cp>Accepting an Emmy for outstanding lead actress in a comedy, the \u003cem>Veep\u003c/em> star issued a \"personal apology\" for today's political climate and made light of Donald Trump's proposal to build a wall at the U.S.-Mexico border. \"Our show started out as a political satire, but it now feels more like a sobering documentary,\" she said. \"So I certainly do promise to rebuild that wall and make Mexico pay for it.\"\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/DaCLhIaqimY'\n title='//www.youtube.com/embed/DaCLhIaqimY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2. Jeb! is back\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Florida Gov. Jeb Bush, who floundered in the presidential primary, came back Sunday night as an Uber driver to host Jimmy Kimmel (\"I'm in between jobs right now,\" Bush says). The scene was part of Kimmel's opening monologue in which he's trying to get to the ceremony. Bush picks him up, then kicks him out of the car and speeds off, poking fun at the negativity of the race along the way:\u003c/p>\n\u003cblockquote>\u003cp>Bush: Are you nominated?\u003c/p>\n\u003cp>Kimmel: I am, yeah.\u003c/p>\n\u003cp>Bush: Wow, what's that like?\u003c/p>\n\u003cp>Kimmel: It's nice, it's nice.\u003c/p>\n\u003cp>Bush: You think you can win?\u003c/p>\n\u003cp>Kimmel: There's a lot of competition. And, probably not.\u003c/p>\n\u003cp>Bush: Well, here's what I know. If you run a positive campaign, the voters ultimately will make the right choice.\u003c/p>\n\u003cp>Kimmel: It's funny you say that, my psychic —\u003c/p>\n\u003cp>Bush: Jimmy, that was a joke. Get out of the car. And shave that wig off your face you godless Hollywood hippie. Jeb exclamation point!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r54CqBhoIjk\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>3. Kate McKinnon thanks Hillary Clinton\u003c/strong>\u003c/p>\n\u003cp>SNL's McKinnon, who has portrayed Clinton on the show, won for outstanding supporting actress in a comedy series. She thanked Hillary Clinton in her speech. Here's a throwback to McKinnon and Clinton on the show together:\u003c/p>\n\u003cp>http://www.hulu.com/watch/852289\u003c/p>\n\u003cp>\u003cstrong>4. \"Obama out\"\u003c/strong>\u003c/p>\n\u003cp>Courtney B. Vance won an Emmy for his performance as lawyer Johnnie Cochran in \u003cem>The People v. O.J. Simpson\u003c/em>. After thanking his laundry list, he ended his speech with a (rather odd) shoutout: \"Obama out, Hillary in!\"\u003c/p>\n\u003cp>https://gifs.com/gif/2kMm5A\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+The+4+Best+Political+Moments+From+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/37696/watch-the-four-best-political-moments-from-the-emmys",
"authors": [
"byline_pop_37696"
],
"categories": [
"pop_3"
],
"tags": [
"pop_49"
],
"featImg": "pop_37705",
"label": "pop"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 2700,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3720,
"relation": "eq"
},
"items": [
"arts_12123103",
"arts_12121760",
"news_11100646",
"arts_12109684",
"arts_12104402",
"arts_12104012",
"arts_12096988",
"bayareabites_112170",
"arts_12100395",
"arts_12095101",
"arts_12090685",
"pop_37696"
],
"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_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_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"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_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_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_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_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1427": {
"type": "terms",
"id": "arts_1427",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1427",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1439,
"slug": "wire",
"isLoading": false,
"link": "/arts/tag/wire"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_4731": {
"type": "terms",
"id": "news_4731",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "4731",
"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 News",
"ogDescription": null
},
"ttid": 4750,
"slug": "theater",
"isLoading": false,
"link": "/news/tag/theater"
},
"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_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_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_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_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"bayareabites_2035": {
"type": "terms",
"id": "bayareabites_2035",
"meta": {
"index": "terms_1716263798",
"site": "bayareabites",
"id": "2035",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics, activism, food safety",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics, activism, food safety Archives | KQED Bay Area Bites",
"ogDescription": null
},
"ttid": 943,
"slug": "politics-activism-food-safety",
"isLoading": false,
"link": "/bayareabites/category/politics-activism-food-safety"
},
"bayareabites_13173": {
"type": "terms",
"id": "bayareabites_13173",
"meta": {
"index": "terms_1716263798",
"site": "bayareabites",
"id": "13173",
"found": true
},
"relationships": {},
"featImg": null,
"name": "terrorism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "terrorism Archives | KQED Bay Area Bites",
"ogDescription": null
},
"ttid": 7639,
"slug": "terrorism",
"isLoading": false,
"link": "/bayareabites/tag/terrorism"
},
"bayareabites_939": {
"type": "terms",
"id": "bayareabites_939",
"meta": {
"index": "terms_1716263798",
"site": "bayareabites",
"id": "939",
"found": true
},
"relationships": {},
"featImg": null,
"name": "yelp",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "yelp Archives | KQED Bay Area Bites",
"ogDescription": null
},
"ttid": 860,
"slug": "yelp",
"isLoading": false,
"link": "/bayareabites/tag/yelp"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"pop_3": {
"type": "terms",
"id": "pop_3",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3,
"slug": "tv",
"isLoading": false,
"link": "/pop/category/tv"
},
"pop_49": {
"type": "terms",
"id": "pop_49",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "49",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards show",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards show Archives | KQED Arts",
"ogDescription": null
},
"ttid": 49,
"slug": "awards-show",
"isLoading": false,
"link": "/pop/tag/awards-show"
}
},
"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
}
}
