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_13903192": {
"type": "attachments",
"id": "arts_13903192",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903192",
"found": true
},
"parent": 13903191,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-scaled-e1631739363710.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21230639833608-1-f53628480febfe08047ba8fff55b580b1f4ba494-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1631738374,
"modified": 1631739414,
"caption": "In this courtroom artist's sketch made from a video screen monitor, R. Kelly (left) and lawyer Thomas Farinella listen during the opening day of his trial on Aug. 18, 2021 in Brooklyn.",
"description": "In this courtroom artist's sketch made from a video screen monitor, R. Kelly (left) and lawyer Thomas Farinella listen during the opening day of his trial on Aug. 18, 2021 in Brooklyn.",
"title": "In this courtroom artist's sketch made from a video screen monitor, R. Kelly (left) and lawyer Thomas Farinella listen during the opening day of his trial on Aug. 18, 2021 in Brooklyn.",
"credit": "Elizabeth Williams/AP",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903034": {
"type": "attachments",
"id": "arts_13903034",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903034",
"found": true
},
"parent": 13902995,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-160x113.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 113
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-scaled.jpg",
"width": 2560,
"height": 1812
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-2048x1450.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-1020x722.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 722
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-1536x1087.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1087
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-1920x1359.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1359
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-800x566.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 566
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340158045-768x544.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 544
}
},
"publishDate": 1631647930,
"modified": 1631648011,
"caption": "Rihanna and A$AP Rocky at the 2021 Met Gala in New York City. ",
"description": "Rihanna and A$AP Rocky at the 2021 Met Gala in New York City. ",
"title": "Rihanna and A$AP Rocky at the 2021 Met Gala in New York City.",
"credit": "Theo Wargo/Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902452": {
"type": "attachments",
"id": "arts_13902452",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902452",
"found": true
},
"parent": 13902056,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-scaled-e1630622779657.jpg",
"width": 1920,
"height": 1280
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-76664071-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1630622223,
"modified": 1631126678,
"caption": "A protestor holds a sign claiming the 9/11 attacks were an inside job in Washington DC, Sept. 11, 2007. The epicenter of the so-called 'truther' movement is in San Francisco—an organization called Architects & Engineers for 9/11 Truth.",
"description": "A protestor holds a sign claiming the 9/11 attacks were an inside job in Washington DC, Sept. 11, 2007. The epicenter of the so-called 'truther' movement is in San Francisco—an organization called Architects & Engineers for 9/11 Truth.",
"title": "A protestor holds a sign claiming the 9/11 attacks were an inside job in Washington DC, Sept. 11, 2007. The epicenter of the so-called 'truther' movement is in San Francisco—an organization called Architects & Engineers for 9/11 Truth.",
"credit": "NICHOLAS KAMM/AFP via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902632": {
"type": "attachments",
"id": "arts_13902632",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902632",
"found": true
},
"parent": 13902631,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-e1631041958504.jpg",
"width": 1920,
"height": 1278
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/02_apartment_gallery_monicalewinsky_0176_v2_custom-61888312a1c901862338e17205c3f6c9a28aaf70-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1631040999,
"modified": 1631042033,
"caption": "Beanie Feldstein as Monica Lewinsky in 'Impeachment: American Crime Story.' Lewinsky served as a producer on the show.",
"description": "Beanie Feldstein as Monica Lewinsky in 'Impeachment: American Crime Story.' Lewinsky served as a producer on the show.",
"title": "Beanie Feldstein as Monica Lewinsky in 'Impeachment: American Crime Story.' Lewinsky served as a producer on the show.",
"credit": "CR. Kurt Iswarienko/FX",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902480": {
"type": "attachments",
"id": "arts_13902480",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902480",
"found": true
},
"parent": 13902470,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-160x83.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 83
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_.jpg",
"width": 1920,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-1020x531.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 531
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-1536x800.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 800
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-800x417.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 417
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-768x400.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 400
}
},
"publishDate": 1630682251,
"modified": 1630682351,
"caption": "Left, Shang-Chi mixes it up on a 1-California Muni bus headed through the Stockton Street Tunnel. Right, Chinatown advocates celebrate the launch of a Muni line that travels through that tunnel, a gateway for the local Chinese community.",
"description": "Left, Shang-Chi mixes it up on a 1-California Muni bus headed through the Stockton Street Tunnel. Right, Chinatown advocates celebrate the launch of a Muni line that travels through that tunnel, a gateway for the local Chinese community.",
"title": "ShangChiMuniHistory.MUNI",
"credit": "Disney/Courtesy Chinatown TRIP/Photo illustration by KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902210": {
"type": "attachments",
"id": "arts_13902210",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902210",
"found": true
},
"parent": 13902202,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-160x103.png",
"width": 160,
"mimeType": "image/png",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM.png",
"width": 2224,
"height": 1428
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-2048x1315.png",
"width": 2048,
"mimeType": "image/png",
"height": 1315
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-1020x655.png",
"width": 1020,
"mimeType": "image/png",
"height": 655
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-1536x986.png",
"width": 1536,
"mimeType": "image/png",
"height": 986
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-1920x1233.png",
"width": 1920,
"mimeType": "image/png",
"height": 1233
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-800x514.png",
"width": 800,
"mimeType": "image/png",
"height": 514
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.33.09-AM-768x493.png",
"width": 768,
"mimeType": "image/png",
"height": 493
}
},
"publishDate": 1630434966,
"modified": 1630435211,
"caption": "Elizabeth Holmes' now-infamous signature look, as captured in 2019 HBO documentary, 'The Inventor: Out For Blood in Silicon Valley.'",
"description": "Elizabeth Holmes' now-infamous signature look, as captured in 2019 HBO documentary, 'The Inventor: Out For Blood in Silicon Valley.'",
"title": "Elizabeth Holmes' now-infamous signature look, as captured in 2019 HBO documentary, 'The Inventor: Out For Blood in Silicon Valley.'",
"credit": "HBO",
"status": "inherit",
"altTag": "Elizabeth Holmes stares off into the distance with wide blue eyes, hair pulled back in a messy bun, and wearing a lab coat with a black turtleneck underneath.",
"isLoading": false,
"fetchFailed": false
},
"arts_13902197": {
"type": "attachments",
"id": "arts_13902197",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902197",
"found": true
},
"parent": 13902196,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-scaled.jpg",
"width": 2560,
"height": 1920
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-527157830-6596f5377ca5e27a25751432dd39c65648c97706-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1630432047,
"modified": 1630432047,
"caption": null,
"description": "LOS ANGELES, CA - MAY 01: Mike Richards accepts the award for outstanding game show for The Price is Right at the 2016 Daytime Emmy Awards at Westin Bonaventure Hotel on May 1, 2016 in Los Angeles, California. (Photo by Joe Scarnici/WireImage)",
"title": "Mike Richards accepts a Daytime Emmy Award for outstanding game show for The Price is Right in 2016.",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902068": {
"type": "attachments",
"id": "arts_13902068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902068",
"found": true
},
"parent": 13902064,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-scaled-e1630089448989.jpg",
"width": 1920,
"height": 1280
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-1167900166-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1630089182,
"modified": 1630089472,
"caption": "JoJo Siwa performing in her signature style, August 2019, in Anaheim. ",
"description": "JoJo Siwa performing in her signature style, August 2019, in Anaheim. ",
"title": "JoJo Siwa performing in her signature style, August 2019, in Anaheim.",
"credit": "Michael Tullberg/Getty Images",
"status": "inherit",
"altTag": "JoJo Siwa, dancing, one arm in the arm, mouth open singing, wearing a sparkling rainbow dress with large shoulder features, and shiny blue leggings underneath.",
"isLoading": false,
"fetchFailed": false
},
"arts_13901881": {
"type": "attachments",
"id": "arts_13901881",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901881",
"found": true
},
"parent": 13901852,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-160x97.png",
"width": 160,
"mimeType": "image/png",
"height": 97
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-e1629933408337.png",
"width": 1920,
"height": 1164
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-2048x1242.png",
"width": 2048,
"mimeType": "image/png",
"height": 1242
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-1020x618.png",
"width": 1020,
"mimeType": "image/png",
"height": 618
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-1536x931.png",
"width": 1536,
"mimeType": "image/png",
"height": 931
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-1920x1164.png",
"width": 1920,
"mimeType": "image/png",
"height": 1164
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-800x485.png",
"width": 800,
"mimeType": "image/png",
"height": 485
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-25-at-4.16.12-PM-768x466.png",
"width": 768,
"mimeType": "image/png",
"height": 466
}
},
"publishDate": 1629933389,
"modified": 1629933447,
"caption": "'One in a Million' took Aaliyah's air of mystery and laid-back vibes, and reworked them to help pioneer a new way forward in pop and R&B.",
"description": "'One in a Million' took Aaliyah's air of mystery and laid-back vibes, and reworked them to help pioneer a new way forward in pop and R&B.",
"title": "'One in a Million' took Aaliyah's air of mystery and laid-back vibes, and reworked them to help pioneer a new way forward in pop and R&B.",
"credit": "Catherine McGann/Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13901811": {
"type": "attachments",
"id": "arts_13901811",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901811",
"found": true
},
"parent": 13901810,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358.jpg",
"width": 1651,
"height": 929
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-124872495_wide-a093db2b44a443e9f7d0a1a41940efaf34d39358-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1629913205,
"modified": 1629915391,
"caption": "The iconic cover of Nirvana's 1991 album, 'Nevermind.'",
"description": "The iconic cover of Nirvana's 1991 album, 'Nevermind.'",
"title": "The iconic cover of Nirvana's 1991 album, 'Nevermind.'",
"credit": null,
"status": "inherit",
"altTag": "The iconic cover of Nirvana's 1991 album, 'Nevermind.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13901699": {
"type": "attachments",
"id": "arts_13901699",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901699",
"found": true
},
"parent": 13901695,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263.jpg",
"width": 2464,
"height": 1632
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-2048x1356.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1356
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-1020x676.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 676
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-1536x1017.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1017
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-1920x1272.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1272
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-800x530.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 530
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/GettyImages-50853263-768x509.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 509
}
},
"publishDate": 1629757228,
"modified": 1629757367,
"caption": "Britney Spears onstage in France in 2004. ",
"description": "Britney Spears onstage in France in 2004. ",
"title": "Britney Spears onstage in France in 2004.",
"credit": "MARTIN BUREAU/AFP via Getty Images",
"status": "inherit",
"altTag": "Britney Spears onstage in France in 2004.",
"isLoading": false,
"fetchFailed": false
},
"arts_13901669": {
"type": "attachments",
"id": "arts_13901669",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901669",
"found": true
},
"parent": 13901650,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM.png",
"width": 2372,
"height": 1482
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-2048x1280.png",
"width": 2048,
"mimeType": "image/png",
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-1020x637.png",
"width": 1020,
"mimeType": "image/png",
"height": 637
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-1536x960.png",
"width": 1536,
"mimeType": "image/png",
"height": 960
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-1920x1200.png",
"width": 1920,
"mimeType": "image/png",
"height": 1200
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-800x500.png",
"width": 800,
"mimeType": "image/png",
"height": 500
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-23-at-12.55.11-PM-768x480.png",
"width": 768,
"mimeType": "image/png",
"height": 480
}
},
"publishDate": 1629748531,
"modified": 1629748672,
"caption": "Jay-Z and Beyoncé have been brought together with a 1982 Basquiat painting for the new Tiffany & Co. ad campaign.",
"description": "Jay-Z and Beyoncé have been brought together with a 1982 Basquiat painting for the new Tiffany & Co. ad campaign.",
"title": "Jay-Z and Beyoncé have been brought together with a 1982 Basquiat painting for the new Tiffany & Co. ad campaign.",
"credit": "Tiffany & Co/ Tiffany.com",
"status": "inherit",
"altTag": "Jay-Z and Beyoncé have been brought together with a 1982 Basquiat painting for the new Tiffany & Co. ad campaign.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13903191": {
"type": "authors",
"id": "byline_arts_13903191",
"meta": {
"override": true
},
"slug": "byline_arts_13903191",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13902631": {
"type": "authors",
"id": "byline_arts_13902631",
"meta": {
"override": true
},
"slug": "byline_arts_13902631",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13902202": {
"type": "authors",
"id": "byline_arts_13902202",
"meta": {
"override": true
},
"slug": "byline_arts_13902202",
"name": "Bobby Allyn",
"isLoading": false
},
"byline_arts_13902196": {
"type": "authors",
"id": "byline_arts_13902196",
"meta": {
"override": true
},
"slug": "byline_arts_13902196",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13902064": {
"type": "authors",
"id": "byline_arts_13902064",
"meta": {
"override": true
},
"slug": "byline_arts_13902064",
"name": "Jonathan Franklin",
"isLoading": false
},
"byline_arts_13901852": {
"type": "authors",
"id": "byline_arts_13901852",
"meta": {
"override": true
},
"slug": "byline_arts_13901852",
"name": "Aisha Harris",
"isLoading": false
},
"byline_arts_13901810": {
"type": "authors",
"id": "byline_arts_13901810",
"meta": {
"override": true
},
"slug": "byline_arts_13901810",
"name": "Deepa Shivaram",
"isLoading": false
},
"byline_arts_13901695": {
"type": "authors",
"id": "byline_arts_13901695",
"meta": {
"override": true
},
"slug": "byline_arts_13901695",
"name": "Eric Deggans",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"jrodriguez": {
"type": "authors",
"id": "11690",
"meta": {
"index": "authors_1716337520",
"id": "11690",
"found": true
},
"name": "Joe Fitzgerald Rodriguez",
"firstName": "Joe",
"lastName": "Fitzgerald Rodriguez",
"slug": "jrodriguez",
"email": "jrodriguez@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Reporter and Producer",
"bio": "Joe Fitzgerald Rodriguez is a reporter and digital producer for KQED covering politics. Joe most recently wrote for the \u003cem>San Francisco Examiner\u003c/em> as a political columnist covering The City. He was raised in San Francisco and has spent his reporting career in his beloved, foggy, city by the bay. Joe was 12-years-old when he conducted his first interview in journalism, grilling former San Francisco Mayor Willie Brown for the Marina Middle School newspaper, \u003cem>The Penguin Press, \u003c/em>and he continues to report on the San Francisco Bay Area to this day.",
"avatar": "https://secure.gravatar.com/avatar/2247beb0564c1e9c62228d5649d2edac?s=600&d=blank&r=g",
"twitter": "FitztheReporter",
"facebook": null,
"instagram": "https://www.instagram.com/fitzthereporter/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "elections",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Joe Fitzgerald Rodriguez | KQED",
"description": "Reporter and Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/2247beb0564c1e9c62228d5649d2edac?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2247beb0564c1e9c62228d5649d2edac?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jrodriguez"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.408306
},
"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,
"title": "Pop Culture",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 108
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 108
}
},
{
"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_13903191": {
"type": "posts",
"id": "arts_13903191",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903191",
"score": null,
"sort": [
1631740317000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1631740317,
"format": "standard",
"title": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom",
"headTitle": "Notebook: A Month Into R. Kelly’s Trial, Here’s What it’s Been Like in the Courtroom | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>[aside postid='arts_13900892']When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>[aside postid='arts_13901400']None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>[aside postid='pop_109968']Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>[aside postid='pop_108417']In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2126,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705007745,
"excerpt": "Four weeks in, one reporter explains, it's often been hard to hear testimony from the women and men R. Kelly allegedly abused.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Four weeks in, one reporter explains, it's often been hard to hear testimony from the women and men R. Kelly allegedly abused.",
"title": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom",
"datePublished": "2021-09-15T14:11:57-07:00",
"dateModified": "2024-01-11T13:15:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "notebook-a-month-into-r-kellys-trial-heres-what-its-been-like-in-the-courtroom",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1037090539&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 15 Sep 2021 12:10:41 -0400",
"nprLastModifiedDate": "Wed, 15 Sep 2021 13:22:02 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/15/1037090539/r-kelly-trial-inside-the-courtroom?ft=nprml&f=1037090539",
"nprImageAgency": "AP",
"nprStoryId": "1037090539",
"nprByline": "Anastasia Tsioulcas",
"sticky": false,
"nprImageCredit": "Elizabeth Williams",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 15 Sep 2021 12:10:00 -0400",
"path": "/arts/13903191/notebook-a-month-into-r-kellys-trial-heres-what-its-been-like-in-the-courtroom",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13900892",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\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>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13901400",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_109968",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108417",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\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>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903191/notebook-a-month-into-r-kellys-trial-heres-what-its-been-like-in-the-courtroom",
"authors": [
"byline_arts_13903191"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_6117",
"arts_1962",
"arts_2461",
"arts_924",
"arts_6443"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903192",
"label": "arts_137"
},
"arts_13902995": {
"type": "posts",
"id": "arts_13902995",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902995",
"score": null,
"sort": [
1631649592000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1631649592,
"format": "standard",
"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
"headTitle": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
"content": "\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 714,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1714692911,
"excerpt": "Sleeping bag couture was embraced by Rihanna, A$AP Rocky, Janet Mock and more...",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Sleeping bag couture was embraced by Rihanna, A$AP Rocky, Janet Mock and more...",
"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
"datePublished": "2021-09-14T12:59:52-07:00",
"dateModified": "2024-05-02T16:35:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "celebs-mostly-interpreted-america-a-lexicon-of-fashion-as-glamping-at-the-2021-met-gala",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"nprStoryId": "kqed-13902995",
"path": "/arts/13902995/celebs-mostly-interpreted-america-a-lexicon-of-fashion-as-glamping-at-the-2021-met-gala",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902995/celebs-mostly-interpreted-america-a-lexicon-of-fashion-as-glamping-at-the-2021-met-gala",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_76",
"arts_75"
],
"tags": [
"arts_7164",
"arts_10278",
"arts_977",
"arts_831",
"arts_11966",
"arts_3226",
"arts_7108",
"arts_22131",
"arts_4291",
"arts_905"
],
"featImg": "arts_13903034",
"label": "arts"
},
"arts_13902056": {
"type": "posts",
"id": "arts_13902056",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902056",
"score": null,
"sort": [
1631221206000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1631221206,
"format": "standard",
"title": "How 9/11 Truthers and Conspiracy Theorists Got a Foothold—Even in the Bay Area",
"headTitle": "How 9/11 Truthers and Conspiracy Theorists Got a Foothold—Even in the Bay Area | KQED",
"content": "\u003cp>[dropcap]L[/dropcap]ast month, Spike Lee came under fire for including the voices of 9/11 conspiracy theorists in his four-part HBO series, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt14324128/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">NYC Epicenters 9/11-2021½\u003c/a>. \u003c/em>Lee hastily edited his documentary after objections poured in from journalists who had seen previews, and who had expressed dismay at the inclusion of interviewees expressing the view that the official narrative of Sept. 11, 2001 was false. Chief among these interview subjects was Richard Gage, a San Francisco-based architect, and the founder of \u003ca href=\"https://www.ae911truth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Architects & Engineers for 9/11 Truth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003ca href=\"https://slate.com/news-and-politics/2021/08/spike-lee-hbo-documentary-richard-gage.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slate\u003c/em>‘s Jeremy Stahl\u003c/a> called Gage’s segment, “surreal and demoralizing.” Stahl noted that “Gage is responsible for peddling some of the most pernicious and long-running lies about the 9/11 attacks, which is why I was surprised that Lee, HBO, and WarnerMedia might be lending his group any amount of time.” Stahl continued, “In terms of conveying facts, this is a bit like presenting COVID-19 vaccine skeptics in a debate alongside Anthony Fauci.”\u003c/p>\n\u003cp>Gage has been at the helm of \u003cem>Architects & Engineers for 9/11 Truth \u003c/em>since founding the group in 2006. Since that time, he has brought together a group of almost 3,500 architects and engineers who continue to argue publicly that planes alone could not have been responsible for the collapse of the World Trade Center’s Twin Towers and Tower 7.\u003c/p>\n\u003cp>Under pressure, Lee removed the 30-minute segment from Episode 4 that gave voice to Gage, alongside other 9/11 conspiracy theorists. (Lee did not take the time, however, to cut a moment in Episode 3 in which a flight attendant who knew the crew of United 93—the plane that crashed in Shanksville—expressed his belief that the plane was shot down.) Also cut from Episode 4 was Shyam Sunder, who led a three-year, $16 million investigation for the National Institute of Standards and Technology. Sunder was originally seen explaining how the commercial flights did, in fact, bring down the three World Trade Center structures. He got cut when the truthers did.\u003c/p>\n\u003cp>In his\u003cem> Vanity Fair \u003c/em>review of the series\u003cem>,\u003c/em> \u003ca href=\"https://www.vanityfair.com/hollywood/2021/08/spike-lees-911-doc-promoted-conspiracy-theories\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Hoffman\u003c/a> asserted that both sides of the conversation had not been equally represented in the original episode anyway. “The initial cut of \u003cem>Epicenters\u003c/em> didn’t merely touch upon conspiracy mongers and so-called 9/11 truthers—it exalted them.” Hoffman reported, “In the original version of the film, we see footage of buildings on fire that don’t come down, then controlled implosions that, on the surface, certainly look similar to what happened at the World Trade Center. It all zooms by rather quickly, but the images are striking … There’s no mention, meanwhile, that journalists have been debunking 9/11 conspiracies since at least 2005.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[dropcap]T[/dropcap]wenty years after the tragedy, there is a broad sense that 9/11 conspiracies are as nonsensical and absurd as QAnon narratives about Satanic politicians and cannibalistic pedophiles. That one of the key leaders in the truther movement is from the Bay Area might come as a surprise to many who currently live here. Especially after the Bay’s Area’s COVID response solidified the region’s reputation for well-informed and rational responses to crises. What many have forgotten, however, is the atmosphere that originally gave birth to 9/11 conspiracies in the first place.\u003c/p>\n\u003cp>[aside postid='arts_12086811']September 11, 2001 was the first major event in American history to have its narrative guided by the internet in addition to mainstream news coverage. Social media as we know it today may not have existed, but people found new and creative ways to freak each other out online. At one point, eBay even had to ban any and all sales of items that sellers claimed came from the World Trade Center rubble.\u003c/p>\n\u003cp>\u003ca href=\"https://911digitalarchive.org/search?query=mark+d+philips&query_type=keyword&record_types%5B%5D=Item&record_types%5B%5D=File&record_types%5B%5D=Collection&submit_search=Search\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The September 11 Archive\u003c/em> has emails\u003c/a> on its website that capture the uniquely strange mood of the time. In some of those messages, internet sleuths shared photos of the attack’s aftermath, claiming to see the faces of both Satan and Osama Bin Laden in the smoke pouring from the towers. \u003ca href=\"https://www.markdphillips.com/satan-in-the-smoke/\" target=\"_blank\" rel=\"noopener noreferrer\">One of the most infamous pictures\u003c/a> was taken by then-\u003cem>Associated Press\u003c/em> photographer Mark D. Phillips. His website still features what he refers to as his “Satan in the Smoke” image and claims it was “one of the first electronic viral images.” A\u003ca href=\"https://twitter.com/TomKludt/status/907209357846355968\" target=\"_blank\" rel=\"noopener noreferrer\"> similar image by Carmen Taylor\u003c/a> was also shared widely.\u003c/p>\n\u003cp>False stories and conspiracies spread with such ubiquity in the weeks after the attacks that, on Sept. 28, 2001, the \u003cem>San Francisco Examiner\u003c/em> felt the need to post an entire column debunking them. Among other things, the paper clarified that a commuter train was not buried in the World Trade Center subway station, and that a rescue worker did not survive an 82-story fall by clinging to debris. The \u003cem>Examiner\u003c/em> also confirmed that a photo of a man purportedly standing on the North tower’s observation deck, as a plane approached behind him, was a total fabrication. It was easy to debunk—the North tower didn’t even have an observation deck. The spread of these rumors via email and hastily made websites was a precursor to the memes and falsehoods we see spread on social media today.\u003c/p>\n\u003cfigure id=\"attachment_13902670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png\" alt=\"A man stands on the World Trade Center's observation deck with New York City's skyline behind him. In the left of the photo is an approaching commercial airplane. \" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1020x702.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-768x529.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1536x1057.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image, dubbed “Tourist Guy” by the internet, was purported to have been taken on 9/11. It was a fake. That didn’t stop it making the rounds online in the weeks following the Sept. 11 attacks. \u003ccite>(Wikipedia/ \"Tourist Guy\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]an Francisco, like major cities all over the country, was immediately on edge following 9/11. In the two days after the attacks, there were 30 bomb scares in San Francisco alone, including at several mosques and the Embarcadero Center. The crisis was unlike anything most Americans had ever experienced and the public response was often deeply irrational as a result. As Spike Lee notes in his HBO series, in the year that followed 9/11, five California-based Muslim, Sikh and Christian men lost their lives in hate crimes that targeted just about anyone with brown skin. Similar attacks occurred around the country.\u003c/p>\n\u003cp>[aside postid='arts_13891175']All of this was taking place less than a year after the agonizing—and contested—election that saw Bush elected over Al Gore, who had won the popular vote. After the 9/11 attacks, and subsequent racial profiling and wars, the political splits that had formed in the aftermath of the 2000 election became even more pronounced. On one side, there was a \u003ca href=\"https://johnsimonds.files.wordpress.com/2013/09/9-11-eagle-crying.gif\" target=\"_blank\" rel=\"noopener noreferrer\">flag-waving fervor\u003c/a> that bordered on the jingoistic. On the other, there was a deep sense of suspicion that bordered on outright paranoia. That mood was aggravated further in 2004 with the release of Michael Moore’s \u003cem>Fahrenheit 9/11\u003c/em> documentary.\u003c/p>\n\u003cp>Moore’s film began with the assertion that George W. Bush stole the 2000 election. It then made business links between the Bush and Bin Laden families, before breaking down the various ways members of the Bush administration financially benefited from the wars that followed Sept. 11. The film pointed to the tragedy in New York as an excuse to invade Iraq and, additionally, to violate American civil liberties with the Patriot Act. Moore’s weren’t brand new concepts, but putting them all together in one film gave conspiracy theorists a compact list of motives to point to when trying to argue that “9/11 was an inside job.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yg-be2r7ouc\u003c/p>\n\u003cp>\u003cem> Fahrenheit 9/11\u003c/em> was not a movie that existed on the margins. It is, to this day, the largest grossing documentary of all time. It won the prestigious Palme d’Or at Cannes, and the Best Documentary prize at the San Francisco Film Critics Circle. And while it didn’t question whether or not those planes could have brought down the World Trade Center, it did tell America, in no uncertain terms, not to trust the government. It told viewers that their worst suspicions about the Bush administration were true. And it primed audiences for a conspiracy movie that emerged online less than a year later, that would prove to be a major foundation for the truther movement.\u003c/p>\n\u003cp>\u003cem>Loose Change—\u003c/em>a film that was made by three young men with $6,000—reached four million people in four months. It attempted to prove that the three World Trade Center buildings were brought down by controlled demolitions, not planes (among many other theories) and it was treated by a great many viewers as a serious piece of filmmaking. A\u003ca href=\"https://www.vanityfair.com/news/2006/08/loosechange200608\" target=\"_blank\" rel=\"noopener noreferrer\"> May 2006 article in \u003cem>Vanity Fair\u003c/em>\u003c/a> wondered aloud if \u003cem>Loose Change \u003c/em>was “the first internet blockbuster.” The magazine also made links between the film’s success and polls that claimed: “42% of Americans now believe that the U.S. government and the 9/11 commission ‘concealed or refused to investigate critical evidence that contradicts their official explanation of the September 11th attacks.'” One \u003cem>New York Times\u003c/em>/CBS News poll from that year found that 53% of respondents thought “the Bush administration was hiding something.”\u003c/p>\n\u003cp>[aside postid='arts_25472']Those conspiratorial notions were, at the time, fairly mainstream. And that was reflected all over the Bay Area by a sudden preponderance of flyers, bumper stickers and stenciled messages that declared that “9/11 was an inside job.” That narrative was further pushed by a 2004 book by California-based scholar David Ray Griffin. Richard Gage has cited Griffin’s \u003cem>The New Pearl Harbor: Disturbing Questions About the Bush Administration and 9/11 \u003c/em>as a key inspiration.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]his, then, was the atmosphere in which \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> sprang up in San Francisco. It was born from a terrifying and uncertain period in which indulging and exploring conspiracy theories helped Americans wrestle back a sense of control. But as Spike Lee just discovered, most Americans who lived through 9/11 and the fraught years that followed are now desperate to move on. Many of the Gen Z teens who grew up in the shadow of 9/11 treat \u003ca href=\"http://www.slate.com/articles/technology/users/2015/07/teenagers_and_9_11_trutherism_jokes_how_these_memes_became_a_phenomenon.html\" target=\"_blank\" rel=\"noopener noreferrer\">truther narratives as far more worthy of mockery\u003c/a> than serious analysis. And in 2021, when election disinformation can inspire a violent raid on the nation’s capitol, conspiracy theories seem the almost exclusive domain of dangerous fringe groups.\u003c/p>\n\u003cp>That one of the biggest truther organizations in America sprang up out of San Francisco does, on some level, reflect the independent spirit and suspicious minds that have always had a niche in the city. But more than that, organizations like \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> are an echo of the rabbit hole America fell into after Sept. 11, 2001. They are a bygone reflection of our nation as it tried desperately to make sense out of an event that inherently couldn’t be made sense of. And they are a time capsule of how traumatized people tried to regain a sense of their own power during a period where many felt powerless.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Spike Lee, ultimately, was right to remove those outdated conspiratorial narratives from \u003cem>NYC Epicenters. \u003c/em>But the truthers themselves should not be erased from history. They remain a reminder to us all of what mass trauma can do to a national psyche.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1940,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705007772,
"excerpt": "'Architects & Engineers for 9/11 Truth' was founded in San Francisco in 2006. It's now central to the truther movement.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Architects & Engineers for 9/11 Truth' was founded in San Francisco in 2006. It's now central to the truther movement.",
"title": "How 9/11 Truthers and Conspiracy Theorists Got a Foothold—Even in the Bay Area | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How 9/11 Truthers and Conspiracy Theorists Got a Foothold—Even in the Bay Area",
"datePublished": "2021-09-09T14:00:06-07:00",
"dateModified": "2024-01-11T13:16:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-9-11-truthers-and-conspiracy-theorists-got-a-foothold-even-in-the-bay-area",
"status": "publish",
"sourceUrl": "https://www.kqed.org/artscommentary",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"path": "/arts/13902056/how-9-11-truthers-and-conspiracy-theorists-got-a-foothold-even-in-the-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>ast month, Spike Lee came under fire for including the voices of 9/11 conspiracy theorists in his four-part HBO series, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt14324128/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">NYC Epicenters 9/11-2021½\u003c/a>. \u003c/em>Lee hastily edited his documentary after objections poured in from journalists who had seen previews, and who had expressed dismay at the inclusion of interviewees expressing the view that the official narrative of Sept. 11, 2001 was false. Chief among these interview subjects was Richard Gage, a San Francisco-based architect, and the founder of \u003ca href=\"https://www.ae911truth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Architects & Engineers for 9/11 Truth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003ca href=\"https://slate.com/news-and-politics/2021/08/spike-lee-hbo-documentary-richard-gage.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slate\u003c/em>‘s Jeremy Stahl\u003c/a> called Gage’s segment, “surreal and demoralizing.” Stahl noted that “Gage is responsible for peddling some of the most pernicious and long-running lies about the 9/11 attacks, which is why I was surprised that Lee, HBO, and WarnerMedia might be lending his group any amount of time.” Stahl continued, “In terms of conveying facts, this is a bit like presenting COVID-19 vaccine skeptics in a debate alongside Anthony Fauci.”\u003c/p>\n\u003cp>Gage has been at the helm of \u003cem>Architects & Engineers for 9/11 Truth \u003c/em>since founding the group in 2006. Since that time, he has brought together a group of almost 3,500 architects and engineers who continue to argue publicly that planes alone could not have been responsible for the collapse of the World Trade Center’s Twin Towers and Tower 7.\u003c/p>\n\u003cp>Under pressure, Lee removed the 30-minute segment from Episode 4 that gave voice to Gage, alongside other 9/11 conspiracy theorists. (Lee did not take the time, however, to cut a moment in Episode 3 in which a flight attendant who knew the crew of United 93—the plane that crashed in Shanksville—expressed his belief that the plane was shot down.) Also cut from Episode 4 was Shyam Sunder, who led a three-year, $16 million investigation for the National Institute of Standards and Technology. Sunder was originally seen explaining how the commercial flights did, in fact, bring down the three World Trade Center structures. He got cut when the truthers did.\u003c/p>\n\u003cp>In his\u003cem> Vanity Fair \u003c/em>review of the series\u003cem>,\u003c/em> \u003ca href=\"https://www.vanityfair.com/hollywood/2021/08/spike-lees-911-doc-promoted-conspiracy-theories\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Hoffman\u003c/a> asserted that both sides of the conversation had not been equally represented in the original episode anyway. “The initial cut of \u003cem>Epicenters\u003c/em> didn’t merely touch upon conspiracy mongers and so-called 9/11 truthers—it exalted them.” Hoffman reported, “In the original version of the film, we see footage of buildings on fire that don’t come down, then controlled implosions that, on the surface, certainly look similar to what happened at the World Trade Center. It all zooms by rather quickly, but the images are striking … There’s no mention, meanwhile, that journalists have been debunking 9/11 conspiracies since at least 2005.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>wenty years after the tragedy, there is a broad sense that 9/11 conspiracies are as nonsensical and absurd as QAnon narratives about Satanic politicians and cannibalistic pedophiles. That one of the key leaders in the truther movement is from the Bay Area might come as a surprise to many who currently live here. Especially after the Bay’s Area’s COVID response solidified the region’s reputation for well-informed and rational responses to crises. What many have forgotten, however, is the atmosphere that originally gave birth to 9/11 conspiracies in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12086811",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>September 11, 2001 was the first major event in American history to have its narrative guided by the internet in addition to mainstream news coverage. Social media as we know it today may not have existed, but people found new and creative ways to freak each other out online. At one point, eBay even had to ban any and all sales of items that sellers claimed came from the World Trade Center rubble.\u003c/p>\n\u003cp>\u003ca href=\"https://911digitalarchive.org/search?query=mark+d+philips&query_type=keyword&record_types%5B%5D=Item&record_types%5B%5D=File&record_types%5B%5D=Collection&submit_search=Search\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The September 11 Archive\u003c/em> has emails\u003c/a> on its website that capture the uniquely strange mood of the time. In some of those messages, internet sleuths shared photos of the attack’s aftermath, claiming to see the faces of both Satan and Osama Bin Laden in the smoke pouring from the towers. \u003ca href=\"https://www.markdphillips.com/satan-in-the-smoke/\" target=\"_blank\" rel=\"noopener noreferrer\">One of the most infamous pictures\u003c/a> was taken by then-\u003cem>Associated Press\u003c/em> photographer Mark D. Phillips. His website still features what he refers to as his “Satan in the Smoke” image and claims it was “one of the first electronic viral images.” A\u003ca href=\"https://twitter.com/TomKludt/status/907209357846355968\" target=\"_blank\" rel=\"noopener noreferrer\"> similar image by Carmen Taylor\u003c/a> was also shared widely.\u003c/p>\n\u003cp>False stories and conspiracies spread with such ubiquity in the weeks after the attacks that, on Sept. 28, 2001, the \u003cem>San Francisco Examiner\u003c/em> felt the need to post an entire column debunking them. Among other things, the paper clarified that a commuter train was not buried in the World Trade Center subway station, and that a rescue worker did not survive an 82-story fall by clinging to debris. The \u003cem>Examiner\u003c/em> also confirmed that a photo of a man purportedly standing on the North tower’s observation deck, as a plane approached behind him, was a total fabrication. It was easy to debunk—the North tower didn’t even have an observation deck. The spread of these rumors via email and hastily made websites was a precursor to the memes and falsehoods we see spread on social media today.\u003c/p>\n\u003cfigure id=\"attachment_13902670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png\" alt=\"A man stands on the World Trade Center's observation deck with New York City's skyline behind him. In the left of the photo is an approaching commercial airplane. \" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1020x702.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-768x529.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1536x1057.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image, dubbed “Tourist Guy” by the internet, was purported to have been taken on 9/11. It was a fake. That didn’t stop it making the rounds online in the weeks following the Sept. 11 attacks. \u003ccite>(Wikipedia/ \"Tourist Guy\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>an Francisco, like major cities all over the country, was immediately on edge following 9/11. In the two days after the attacks, there were 30 bomb scares in San Francisco alone, including at several mosques and the Embarcadero Center. The crisis was unlike anything most Americans had ever experienced and the public response was often deeply irrational as a result. As Spike Lee notes in his HBO series, in the year that followed 9/11, five California-based Muslim, Sikh and Christian men lost their lives in hate crimes that targeted just about anyone with brown skin. Similar attacks occurred around the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891175",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All of this was taking place less than a year after the agonizing—and contested—election that saw Bush elected over Al Gore, who had won the popular vote. After the 9/11 attacks, and subsequent racial profiling and wars, the political splits that had formed in the aftermath of the 2000 election became even more pronounced. On one side, there was a \u003ca href=\"https://johnsimonds.files.wordpress.com/2013/09/9-11-eagle-crying.gif\" target=\"_blank\" rel=\"noopener noreferrer\">flag-waving fervor\u003c/a> that bordered on the jingoistic. On the other, there was a deep sense of suspicion that bordered on outright paranoia. That mood was aggravated further in 2004 with the release of Michael Moore’s \u003cem>Fahrenheit 9/11\u003c/em> documentary.\u003c/p>\n\u003cp>Moore’s film began with the assertion that George W. Bush stole the 2000 election. It then made business links between the Bush and Bin Laden families, before breaking down the various ways members of the Bush administration financially benefited from the wars that followed Sept. 11. The film pointed to the tragedy in New York as an excuse to invade Iraq and, additionally, to violate American civil liberties with the Patriot Act. Moore’s weren’t brand new concepts, but putting them all together in one film gave conspiracy theorists a compact list of motives to point to when trying to argue that “9/11 was an inside job.”\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/yg-be2r7ouc'\n title='//www.youtube.com/embed/yg-be2r7ouc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem> Fahrenheit 9/11\u003c/em> was not a movie that existed on the margins. It is, to this day, the largest grossing documentary of all time. It won the prestigious Palme d’Or at Cannes, and the Best Documentary prize at the San Francisco Film Critics Circle. And while it didn’t question whether or not those planes could have brought down the World Trade Center, it did tell America, in no uncertain terms, not to trust the government. It told viewers that their worst suspicions about the Bush administration were true. And it primed audiences for a conspiracy movie that emerged online less than a year later, that would prove to be a major foundation for the truther movement.\u003c/p>\n\u003cp>\u003cem>Loose Change—\u003c/em>a film that was made by three young men with $6,000—reached four million people in four months. It attempted to prove that the three World Trade Center buildings were brought down by controlled demolitions, not planes (among many other theories) and it was treated by a great many viewers as a serious piece of filmmaking. A\u003ca href=\"https://www.vanityfair.com/news/2006/08/loosechange200608\" target=\"_blank\" rel=\"noopener noreferrer\"> May 2006 article in \u003cem>Vanity Fair\u003c/em>\u003c/a> wondered aloud if \u003cem>Loose Change \u003c/em>was “the first internet blockbuster.” The magazine also made links between the film’s success and polls that claimed: “42% of Americans now believe that the U.S. government and the 9/11 commission ‘concealed or refused to investigate critical evidence that contradicts their official explanation of the September 11th attacks.'” One \u003cem>New York Times\u003c/em>/CBS News poll from that year found that 53% of respondents thought “the Bush administration was hiding something.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_25472",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Those conspiratorial notions were, at the time, fairly mainstream. And that was reflected all over the Bay Area by a sudden preponderance of flyers, bumper stickers and stenciled messages that declared that “9/11 was an inside job.” That narrative was further pushed by a 2004 book by California-based scholar David Ray Griffin. Richard Gage has cited Griffin’s \u003cem>The New Pearl Harbor: Disturbing Questions About the Bush Administration and 9/11 \u003c/em>as a key inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>his, then, was the atmosphere in which \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> sprang up in San Francisco. It was born from a terrifying and uncertain period in which indulging and exploring conspiracy theories helped Americans wrestle back a sense of control. But as Spike Lee just discovered, most Americans who lived through 9/11 and the fraught years that followed are now desperate to move on. Many of the Gen Z teens who grew up in the shadow of 9/11 treat \u003ca href=\"http://www.slate.com/articles/technology/users/2015/07/teenagers_and_9_11_trutherism_jokes_how_these_memes_became_a_phenomenon.html\" target=\"_blank\" rel=\"noopener noreferrer\">truther narratives as far more worthy of mockery\u003c/a> than serious analysis. And in 2021, when election disinformation can inspire a violent raid on the nation’s capitol, conspiracy theories seem the almost exclusive domain of dangerous fringe groups.\u003c/p>\n\u003cp>That one of the biggest truther organizations in America sprang up out of San Francisco does, on some level, reflect the independent spirit and suspicious minds that have always had a niche in the city. But more than that, organizations like \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> are an echo of the rabbit hole America fell into after Sept. 11, 2001. They are a bygone reflection of our nation as it tried desperately to make sense out of an event that inherently couldn’t be made sense of. And they are a time capsule of how traumatized people tried to regain a sense of their own power during a period where many felt powerless.\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>Spike Lee, ultimately, was right to remove those outdated conspiratorial narratives from \u003cem>NYC Epicenters. \u003c/em>But the truthers themselves should not be erased from history. They remain a reminder to us all of what mass trauma can do to a national psyche.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902056/how-9-11-truthers-and-conspiracy-theorists-got-a-foothold-even-in-the-bay-area",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_2303",
"arts_7862",
"arts_75"
],
"tags": [
"arts_10061",
"arts_14452",
"arts_2767",
"arts_15169",
"arts_6463"
],
"featImg": "arts_13902452",
"label": "source_arts_13902056"
},
"arts_13902631": {
"type": "posts",
"id": "arts_13902631",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902631",
"score": null,
"sort": [
1631043259000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1631043259,
"format": "standard",
"title": "Women Reclaim the Narrative of the Clinton Sex Scandal in 'Impeachment: American Crime Story'",
"headTitle": "Women Reclaim the Narrative of the Clinton Sex Scandal in ‘Impeachment: American Crime Story’ | KQED",
"content": "\u003cp>Here’s what I found most impressive about FX’s \u003cem>Impeachment: American Crime Story—\u003c/em>though Monica Lewinsky is a producer on the show, even she doesn’t get out of this tale unscathed.\u003c/p>\n\u003cp>It’s true, Lewinsky fares best among the major characters here. Clive Owen’s Bill Clinton is a smooth-talking Jekyll and Hyde with an Arkansas twang—sensitive and caring when they’re having secret trysts in the White House, angry and ruthless when she challenges him. Annaleigh Ashford’s Paula Jones is an earnestly dimwitted deer in the world’s biggest headlights; caught between conservative activists intent on weaponizing her horrifying story of sexual harassment by Clinton and a callous husband hoping to turn any fame reflected from her into an acting gig for himself.\u003c/p>\n\u003cp>And there’s Sarah Paulson’s Linda Tripp. Made dowdier by a \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-08-26/sarah-paulson-linda-tripp-american-crime-story-impeachment\" target=\"_blank\" rel=\"noopener noreferrer\">controversial fat suit\u003c/a> and near-impenetrable helmet of blond hair, Paulson manages to evoke both pathos and revulsion playing the frustrated administrative secretary who turned secretly-recorded conversations of Lewinsky venting about her affair with President Clinton over to federal investigators.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rtipQ3EsGWo\u003c/p>\n\u003cp>Still, \u003cem>Impeachment \u003c/em>depicts Lewinsky as almost impossibly naïve and smitten with Clinton as their affair began in 1996; \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Booksmart\u003c/em>\u003c/a> star \u003ca href=\"https://www.npr.org/2020/05/08/852330962/its-not-just-a-phase-how-to-build-a-girl-is-about-a-teen-still-figuring-it-out\" target=\"_blank\" rel=\"noopener noreferrer\">Beanie Feldstein\u003c/a> excels at embodying the then-22-year-old’s vacillating moods. One minute, Lewinsky is pining by the phone and pestering Clinton’s secretary when he’s clearly blowing her off. The next moment, she’s plunged into angry hysterics when the president resurfaces to toy with her a bit more before withdrawing again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They even show the infamous thong flashing incident in the White House. (Though, thankfully, no sex scenes or cigars and only passing references to that blue dress.)\u003c/p>\n\u003cp>Through it all, until investigators from independent counsel Kenneth Starr scoop her up at a shopping mall while she’s waiting to meet with Tripp, \u003cem>Impeachment’\u003c/em>s Lewinsky seems oddly unaware of the powder keg her affair with Clinton is. Then the news breaks and everyone’s lives are buffeted by a series of \u003cem>Saturday Night Live\u003c/em> skits, \u003cem>Tonight Show\u003c/em> monologues and horrifically invasive investigative stories.\u003c/p>\n\u003cp>But there are times when the story gives Lewinsky a steely backbone, including the moment when she demands federal investigators not remove Tripp from the room before they begin their interrogation. “Make her stay and watch,” Feldstein’s Lewinsky spits at them. “I want that treacherous bitch to see what she’s done to me.”\u003c/p>\n\u003cfigure id=\"attachment_13902633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/acs_401_0024_custom-0ffdc17e4390c654ffd0cb693a3e48c6f251f577-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Sarah Paulson as Linda Tripp, Beanie Feldstein as Monica Lewinsky. \u003ccite>(Tina Thorpe/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Finding New Meaning in an Old Story\u003c/h3>\n\u003cp>The key to FX’s \u003cem>American Crime Story\u003c/em> anthology series—which has tackled the \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\" target=\"_blank\" rel=\"noopener noreferrer\">murder trial of O.J. Simpson\u003c/a> and the \u003ca href=\"https://www.npr.org/2018/01/17/578524694/review-american-crime-story-the-assassination-of-gianni-versace\" target=\"_blank\" rel=\"noopener noreferrer\">killing of Gianni Versace\u003c/a> in previous iterations—is showing new, telling revelations in a story the audience already thinks it knows well.\u003cem> Impeachment \u003c/em>scores on this count, mostly by focusing on the three women whose stories were most distorted by the media and politicians at the time: Jones, Tripp and Lewinsky.\u003c/p>\n\u003cp>[aside postid='pop_98520']Like the inaugural \u003cem>American Crime Story\u003c/em> season focused on O.J. Simpson back in 2016, \u003cem>Impeachment\u003c/em> is based on a Jeffrey Toobin book, \u003cem>A Vast Conspiracy: The Real Story of the Sex Scandal That Nearly Brought Down a President\u003c/em>. (Given his own recent, um, difficulties with a \u003ca href=\"https://www.nytimes.com/2021/06/10/business/media/jeffrey-toobin-cnn.html\" target=\"_blank\" rel=\"noopener noreferrer\">Zoom call-centered scandal\u003c/a>, I’m doubting Toobin will be making the publicity rounds for this production.) Playwright and screenwriter Sarah Burgess served as showrunner for \u003cem>Impeachment\u003c/em>, with no involvement from Toobin.\u003c/p>\n\u003cp>There is a sense here of women reclaiming and retelling a narrative once largely controlled by male journalists, politicians, comedians and activists.\u003c/p>\n\u003cp>Tripp gets the most nuanced treatment, humanized even as she is shown to be an unlikeable woman given to exaggerating her importance and feeling discarded when she is transferred out of the White House. Much as she tries to cast her befriending of Lewinsky and recording of her private conversations as some sort of intervention, Tripp also wants to use her knowledge for something she’s never had before.\u003c/p>\n\u003cp>To finally matter in a town where women with jobs like hers rarely do.\u003c/p>\n\u003cp>(It’s a sign of Paulson’s skill at sympathetic performances that, even after \u003cem>Impeachment\u003c/em> shows Tripp’s baldfaced betrayal of Lewinsky to Starr’s investigators, you still feel as bit sorry for her as she sits with her grown kids to watch an actual \u003cem>SNL\u003c/em> skit where beefy male actor John Goodman played her.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlZMN1-k3XE\u003c/p>\n\u003ch3>Predicting Digital Gossip and Hyperpartisanship\u003c/h3>\n\u003cp>There are other, juicy tidbits here. Billy Eichner is pitch perfect as Matt Drudge, the webmaster whose leaking of a Lewinsky story\u003cem> Newsweek\u003c/em> delayed publishing ushered in the world of cultivating digital gossip for pageviews. And Cobie Smulders is scarily arch as Ann Coulter, the conservative activist pushing to turn the president’s affair into an impeachment that could drive a liberal leader from office.\u003c/p>\n\u003cp>Another performance I really enjoyed was Owen’s turn as Clinton. Outfitted with a large, prosthetic nose—a surprising number of characters here have them—and lilting drawl, he plays the scandal-plagued president in a more reflective, subdued way. This choice makes his Clinton seem less like a parody and more like an actual person. (More surprising is the near-invisibility of Edie Falco’s Hillary Clinton in early episodes; she doesn’t get a major scene until the season’s seventh episode.)\u003c/p>\n\u003cp>Lewinsky has said her affair with the president was consensual. But the series shows Jones and former White House volunteer aide Kathleen Willey, played by Elizabeth Reaser, alleging that Clinton harassed or assaulted them without their consent. Owen’s measured performance highlights the possibility that a smart, self-assured man like Clinton could still be capable of such terrible acts.\u003c/p>\n\u003cfigure id=\"attachment_13902634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clive Owen as Bill Clinton. \u003ccite>(Kurt Iswarienko/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What \u003cem>Impeachment\u003c/em> doesn’t explain—at least in the seven episodes I saw—was a question only presented as fictionalized banter in the writer’s room at Jay Leno’s \u003cem>Tonight Show\u003c/em>. Why did Clinton have the affair with Lewinsky in the first place, knowing how closely his conservative opponents were examining his life for any hint of scandal?\u003c/p>\n\u003cp>[aside postid='arts_13889371']And why did he pick Lewinsky, leading her to believe they had a serious relationship when it was obvious—at least, on his side—that he would never blow up his political career and his life for an unknown 20-something intern young enough to be his daughter?\u003c/p>\n\u003cp>\u003cem>Impeachment \u003c/em>isn’t as revelatory as \u003cem>People v. O.J. Simpson\u003c/em> or stylish as \u003cem>The Assassination of Gianni Versace\u003c/em>. But it does push viewers to reconsider a moment when media, partisanship, sexual politics and celebrity took a hard turn toward the reality we’re now living in today.\u003c/p>\n\u003cp>It’s not always comfortable viewing, especially for those of us who might remember laughing along as the world gleefully shamed Lewinsky, Tripp and Jones for their looks, weight and assumed appetites.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But to understand how far we have come—and have not—on these issues, it might come close to essential viewing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+Reclaim+The+Narrative+Of+The+Clinton+Sex+Scandal+In+%27Impeachment%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1257,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705007786,
"excerpt": "FX's limited series gives new perspective to a story once controlled by male journalists, politicians, comedians and activists.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "FX's limited series gives new perspective to a story once controlled by male journalists, politicians, comedians and activists.",
"title": "Women Reclaim the Narrative of the Clinton Sex Scandal in 'Impeachment: American Crime Story' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Women Reclaim the Narrative of the Clinton Sex Scandal in 'Impeachment: American Crime Story'",
"datePublished": "2021-09-07T12:34:19-07:00",
"dateModified": "2024-01-11T13:16:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "women-reclaim-the-narrative-of-the-clinton-sex-scandal-in-impeachment-american-crime-story",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1033976091&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 05 Sep 2021 07:00:55 -0400",
"nprLastModifiedDate": "Sun, 05 Sep 2021 07:22:47 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/05/1033976091/impeachment-lewinsky-clinton-beanie-feldstein-sarah-paulson?ft=nprml&f=1033976091",
"nprImageAgency": "FX",
"nprStoryId": "1033976091",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Kurt Iswarienko",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 05 Sep 2021 07:00:00 -0400",
"path": "/arts/13902631/women-reclaim-the-narrative-of-the-clinton-sex-scandal-in-impeachment-american-crime-story",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s what I found most impressive about FX’s \u003cem>Impeachment: American Crime Story—\u003c/em>though Monica Lewinsky is a producer on the show, even she doesn’t get out of this tale unscathed.\u003c/p>\n\u003cp>It’s true, Lewinsky fares best among the major characters here. Clive Owen’s Bill Clinton is a smooth-talking Jekyll and Hyde with an Arkansas twang—sensitive and caring when they’re having secret trysts in the White House, angry and ruthless when she challenges him. Annaleigh Ashford’s Paula Jones is an earnestly dimwitted deer in the world’s biggest headlights; caught between conservative activists intent on weaponizing her horrifying story of sexual harassment by Clinton and a callous husband hoping to turn any fame reflected from her into an acting gig for himself.\u003c/p>\n\u003cp>And there’s Sarah Paulson’s Linda Tripp. Made dowdier by a \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-08-26/sarah-paulson-linda-tripp-american-crime-story-impeachment\" target=\"_blank\" rel=\"noopener noreferrer\">controversial fat suit\u003c/a> and near-impenetrable helmet of blond hair, Paulson manages to evoke both pathos and revulsion playing the frustrated administrative secretary who turned secretly-recorded conversations of Lewinsky venting about her affair with President Clinton over to federal investigators.\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/rtipQ3EsGWo'\n title='//www.youtube.com/embed/rtipQ3EsGWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, \u003cem>Impeachment \u003c/em>depicts Lewinsky as almost impossibly naïve and smitten with Clinton as their affair began in 1996; \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Booksmart\u003c/em>\u003c/a> star \u003ca href=\"https://www.npr.org/2020/05/08/852330962/its-not-just-a-phase-how-to-build-a-girl-is-about-a-teen-still-figuring-it-out\" target=\"_blank\" rel=\"noopener noreferrer\">Beanie Feldstein\u003c/a> excels at embodying the then-22-year-old’s vacillating moods. One minute, Lewinsky is pining by the phone and pestering Clinton’s secretary when he’s clearly blowing her off. The next moment, she’s plunged into angry hysterics when the president resurfaces to toy with her a bit more before withdrawing again.\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>They even show the infamous thong flashing incident in the White House. (Though, thankfully, no sex scenes or cigars and only passing references to that blue dress.)\u003c/p>\n\u003cp>Through it all, until investigators from independent counsel Kenneth Starr scoop her up at a shopping mall while she’s waiting to meet with Tripp, \u003cem>Impeachment’\u003c/em>s Lewinsky seems oddly unaware of the powder keg her affair with Clinton is. Then the news breaks and everyone’s lives are buffeted by a series of \u003cem>Saturday Night Live\u003c/em> skits, \u003cem>Tonight Show\u003c/em> monologues and horrifically invasive investigative stories.\u003c/p>\n\u003cp>But there are times when the story gives Lewinsky a steely backbone, including the moment when she demands federal investigators not remove Tripp from the room before they begin their interrogation. “Make her stay and watch,” Feldstein’s Lewinsky spits at them. “I want that treacherous bitch to see what she’s done to me.”\u003c/p>\n\u003cfigure id=\"attachment_13902633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/acs_401_0024_custom-0ffdc17e4390c654ffd0cb693a3e48c6f251f577-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Sarah Paulson as Linda Tripp, Beanie Feldstein as Monica Lewinsky. \u003ccite>(Tina Thorpe/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Finding New Meaning in an Old Story\u003c/h3>\n\u003cp>The key to FX’s \u003cem>American Crime Story\u003c/em> anthology series—which has tackled the \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\" target=\"_blank\" rel=\"noopener noreferrer\">murder trial of O.J. Simpson\u003c/a> and the \u003ca href=\"https://www.npr.org/2018/01/17/578524694/review-american-crime-story-the-assassination-of-gianni-versace\" target=\"_blank\" rel=\"noopener noreferrer\">killing of Gianni Versace\u003c/a> in previous iterations—is showing new, telling revelations in a story the audience already thinks it knows well.\u003cem> Impeachment \u003c/em>scores on this count, mostly by focusing on the three women whose stories were most distorted by the media and politicians at the time: Jones, Tripp and Lewinsky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_98520",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Like the inaugural \u003cem>American Crime Story\u003c/em> season focused on O.J. Simpson back in 2016, \u003cem>Impeachment\u003c/em> is based on a Jeffrey Toobin book, \u003cem>A Vast Conspiracy: The Real Story of the Sex Scandal That Nearly Brought Down a President\u003c/em>. (Given his own recent, um, difficulties with a \u003ca href=\"https://www.nytimes.com/2021/06/10/business/media/jeffrey-toobin-cnn.html\" target=\"_blank\" rel=\"noopener noreferrer\">Zoom call-centered scandal\u003c/a>, I’m doubting Toobin will be making the publicity rounds for this production.) Playwright and screenwriter Sarah Burgess served as showrunner for \u003cem>Impeachment\u003c/em>, with no involvement from Toobin.\u003c/p>\n\u003cp>There is a sense here of women reclaiming and retelling a narrative once largely controlled by male journalists, politicians, comedians and activists.\u003c/p>\n\u003cp>Tripp gets the most nuanced treatment, humanized even as she is shown to be an unlikeable woman given to exaggerating her importance and feeling discarded when she is transferred out of the White House. Much as she tries to cast her befriending of Lewinsky and recording of her private conversations as some sort of intervention, Tripp also wants to use her knowledge for something she’s never had before.\u003c/p>\n\u003cp>To finally matter in a town where women with jobs like hers rarely do.\u003c/p>\n\u003cp>(It’s a sign of Paulson’s skill at sympathetic performances that, even after \u003cem>Impeachment\u003c/em> shows Tripp’s baldfaced betrayal of Lewinsky to Starr’s investigators, you still feel as bit sorry for her as she sits with her grown kids to watch an actual \u003cem>SNL\u003c/em> skit where beefy male actor John Goodman played her.)\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/YlZMN1-k3XE'\n title='//www.youtube.com/embed/YlZMN1-k3XE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Predicting Digital Gossip and Hyperpartisanship\u003c/h3>\n\u003cp>There are other, juicy tidbits here. Billy Eichner is pitch perfect as Matt Drudge, the webmaster whose leaking of a Lewinsky story\u003cem> Newsweek\u003c/em> delayed publishing ushered in the world of cultivating digital gossip for pageviews. And Cobie Smulders is scarily arch as Ann Coulter, the conservative activist pushing to turn the president’s affair into an impeachment that could drive a liberal leader from office.\u003c/p>\n\u003cp>Another performance I really enjoyed was Owen’s turn as Clinton. Outfitted with a large, prosthetic nose—a surprising number of characters here have them—and lilting drawl, he plays the scandal-plagued president in a more reflective, subdued way. This choice makes his Clinton seem less like a parody and more like an actual person. (More surprising is the near-invisibility of Edie Falco’s Hillary Clinton in early episodes; she doesn’t get a major scene until the season’s seventh episode.)\u003c/p>\n\u003cp>Lewinsky has said her affair with the president was consensual. But the series shows Jones and former White House volunteer aide Kathleen Willey, played by Elizabeth Reaser, alleging that Clinton harassed or assaulted them without their consent. Owen’s measured performance highlights the possibility that a smart, self-assured man like Clinton could still be capable of such terrible acts.\u003c/p>\n\u003cfigure id=\"attachment_13902634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/03_ovaloffice_gallery_bill_0435_v3-2_custom-b4281de92c509f9e5da701e6099812493ca29bbe-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clive Owen as Bill Clinton. \u003ccite>(Kurt Iswarienko/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What \u003cem>Impeachment\u003c/em> doesn’t explain—at least in the seven episodes I saw—was a question only presented as fictionalized banter in the writer’s room at Jay Leno’s \u003cem>Tonight Show\u003c/em>. Why did Clinton have the affair with Lewinsky in the first place, knowing how closely his conservative opponents were examining his life for any hint of scandal?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889371",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And why did he pick Lewinsky, leading her to believe they had a serious relationship when it was obvious—at least, on his side—that he would never blow up his political career and his life for an unknown 20-something intern young enough to be his daughter?\u003c/p>\n\u003cp>\u003cem>Impeachment \u003c/em>isn’t as revelatory as \u003cem>People v. O.J. Simpson\u003c/em> or stylish as \u003cem>The Assassination of Gianni Versace\u003c/em>. But it does push viewers to reconsider a moment when media, partisanship, sexual politics and celebrity took a hard turn toward the reality we’re now living in today.\u003c/p>\n\u003cp>It’s not always comfortable viewing, especially for those of us who might remember laughing along as the world gleefully shamed Lewinsky, Tripp and Jones for their looks, weight and assumed appetites.\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>But to understand how far we have come—and have not—on these issues, it might come close to essential viewing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+Reclaim+The+Narrative+Of+The+Clinton+Sex+Scandal+In+%27Impeachment%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902631/women-reclaim-the-narrative-of-the-clinton-sex-scandal-in-impeachment-american-crime-story",
"authors": [
"byline_arts_13902631"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_11323",
"arts_549",
"arts_8237",
"arts_5826",
"arts_12217",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902632",
"label": "arts_137"
},
"arts_13902470": {
"type": "posts",
"id": "arts_13902470",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902470",
"score": null,
"sort": [
1630688592000
]
},
"guestAuthors": [],
"slug": "shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
"publishDate": 1630688592,
"format": "standard",
"headTitle": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.[pullquote size=\"medium\" align=\"right\" citation=\"Phil Chin, Chinatown TRIP co-founder\"]‘What we need is for the (San Francisco Municipal Transportation Agency) to provide full-service levels and to ensure true safety on every single one of their trains and buses.’[/pullquote]\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13903050,arts_13902814,arts_13902724,arts_13906142']\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "With Marvel’s famous bus chase in theaters, we revisit the community fight behind the 1-California and other Chinatown bus lines.",
"status": "publish",
"parent": 0,
"modified": 1726759827,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 45,
"wordCount": 1857
},
"headData": {
"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy | KQED",
"description": "With Marvel’s famous bus chase in theaters, we revisit the community fight behind the 1-California and other Chinatown bus lines.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
"datePublished": "2021-09-03T10:03:12-07:00",
"dateModified": "2024-09-19T08:30:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "in-shang-chi-a-muni-line-made-possible-by-chinatown-community-advocacy",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\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>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘What we need is for the (San Francisco Municipal Transportation Agency) to provide full-service levels and to ensure true safety on every single one of their trains and buses.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Phil Chin, Chinatown TRIP co-founder",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903050,arts_13902814,arts_13902724,arts_13906142",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"authors": [
"11690"
],
"categories": [
"arts_1",
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_2654",
"arts_10342",
"arts_10278",
"arts_977",
"arts_3570",
"arts_7718",
"arts_1146",
"arts_19533"
],
"featImg": "arts_13902480",
"label": "arts"
},
"arts_13902202": {
"type": "posts",
"id": "arts_13902202",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902202",
"score": null,
"sort": [
1630436374000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1630436374,
"format": "standard",
"title": "Elizabeth Holmes' Criminal Fraud Trial Started Today in San Jose",
"headTitle": "Elizabeth Holmes’ Criminal Fraud Trial Started Today in San Jose | KQED",
"content": "\u003cp>Jury selection in the criminal fraud trial of Elizabeth Holmes started on Tuesday, the beginning of a highly anticipated legal showdown over one of the most spectacular Silicon Valley scandals in recent history.\u003c/p>\n\u003cp>Federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ndca/page/file/1135066/download\" target=\"_blank\" rel=\"noopener noreferrer\">have charged\u003c/a> Holmes and her former business partner and ex-boyfriend, Ramesh “Sunny” Balwani, with defrauding investors and patients of their blood-testing company Theranos, which Holmes and Balwani claimed would revolutionize laboratory medicine.\u003c/p>\n\u003cp>Patients who were wrongly diagnosed by Theranos tests are set to testify against Holmes. Some had been told they were HIV-positive. Another, who was pregnant at the time, was incorrectly told she had miscarried her baby.\u003c/p>\n\u003cp>After the jury is chosen, opening arguments are slated to start on Sept. 8. The trial in San Jose, Calif., is expected to stretch on for four months.\u003c/p>\n\u003cp>[aside postid='arts_13882749']In court documents unsealed Saturday, and \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">first reported by NPR\u003c/a>, Holmes’ legal team said she is highly likely to take the witness stand and accuse Balwani of manipulating and abusing her to such a degree that it affected her state of mind during the time of the alleged fraud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both she and Balwani, who will be tried separately next year, have pleaded not guilty. If convicted, each faces a prison sentence of up to 20 years.\u003c/p>\n\u003cp>Holmes, who is reportedly married to the heir of a California hotel chain, Billy Evans, recently gave birth. The judge has said there \u003ca href=\"https://www.cnbc.com/2021/06/15/elizabeth-holmes-attorneys-concerned-about-finding-unbiased-jurors.html\" target=\"_blank\" rel=\"noopener noreferrer\">will be arrangements\u003c/a> allowing her to care for her baby boy in the courthouse.\u003c/p>\n\u003ch3>”Fake it until you make it” approach led to criminal charges\u003c/h3>\n\u003cp>A Stanford University dropout, Holmes dazzled Silicon Valley by founding Theranos at age 19. She promised its technology could screen patients for hundreds of diseases with just a finger prick of blood.\u003c/p>\n\u003cp>Holmes cultivated a mystique that included a signature black turtleneck like Apple co-founder Steve Jobs, whom she greatly \u003ca href=\"https://www.cbsnews.com/video/elizabeth-holmes-steve-jobs-is-an-incredible-symbol-of-whats-possible/\" target=\"_blank\" rel=\"noopener noreferrer\">admired\u003c/a>.\u003c/p>\n\u003cp>Big names from former President Bill Clinton to former Secretary of State Henry Kissinger to Mexican billionaire Carlos Slim believed in the company, helping it attract global investment and a valuation of more than $9 billion before its fall from grace in 2015.\u003c/p>\n\u003cfigure id=\"attachment_13902216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png\" alt=\"\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1020x625.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-768x470.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1536x941.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-2048x1255.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1920x1176.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes poses with her Edison machine; a blood testing unit that was supposed to revolutionize healthcare. It never actually worked. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when a series of \u003ca href=\"https://www.wsj.com/articles/theranos-has-struggled-with-blood-tests-1444881901\" target=\"_blank\" rel=\"noopener noreferrer\">stories\u003c/a> in \u003cem>The Wall Street Journal\u003c/em> showed that Theranos was not using some new breakthrough equipment, as Holmes had claimed. Journalist John Carreyrou revealed that, instead, the company relied mostly on traditional blood-processing machines. And Carreyrou’s reporting revealed a pattern of flaws and inaccuracies in patient results.\u003c/p>\n\u003cp>“There’s an expression that’s become synonymous with the business culture of Silicon Valley, which is, ‘Fake it until you make it,’ ” Carreyrou told NPR about Holmes. “She thought it was OK to behave that way.”\u003c/p>\n\u003cp>Walgreens stores in Arizona and California stopped allowing patients to get Theranos tests. Plans to expand testing to the rest of the nation were scrapped.\u003c/p>\n\u003cp>As Theranos became embattled, Holmes was defiant.\u003c/p>\n\u003cp>[aside postid='futureofyou_442098']“This is what happens when you work to change things. First, they think you’re crazy, then they fight you, then all of a sudden you change the world,” Holmes \u003ca href=\"https://www.youtube.com/watch?v=rGfaJZAdfNE\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> CNBC in 2018.\u003c/p>\n\u003cp>Federal prosecutors allege that she was not a scientific genius but rather a huckster who knowingly shilled technology that gave flawed or downright incorrect results to patients and left investors holding the bag.\u003c/p>\n\u003cp>Carreyrou, who has left \u003cem>The Journal\u003c/em> and will be chronicling the trial in a podcast called \u003cem>Bad Blood: The Final Chapter\u003c/em>, said the case could have far-reaching implications for tech startup culture.\u003c/p>\n\u003cp>“If she’s acquitted, the lesson that a lot of entrepreneurs and VCs [venture capitalists] in Silicon Valley are going to retain is that Holmes got away with it,” Carreyrou said.\u003c/p>\n\u003cp>“If she’s convicted, I expect it to be a wake-up call in Silicon Valley to how much you can exaggerate, how much you can lie, how much you can experiment with your products before you cross that bright red line before you have to go to prison.”\u003c/p>\n\u003ch3>Holmes expected to claim ex-boyfriend manipulated her\u003c/h3>\n\u003cp>Holmes and Balwani had a secret romance when she was Theranos’ CEO and he was its president and chief operating officer. Now the two are blaming each other for the company’s downfall.\u003c/p>\n\u003cp>Holmes’ defense strategy came into view \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">in the documents the court released\u003c/a> on Saturday: that Holmes intends to say Balwani controlled what Holmes’ ate, when she slept, how she dressed and with whom she spoke. The alleged abuse created a “a mental health condition bearing on guilt,” her lawyers have written.\u003c/p>\n\u003cfigure id=\"attachment_13902203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902203\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1232732720_custom-9dc74dde3897585049630b1c09602a743047d6e2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes, the founder and former chief executive officer of Theranos, leaves federal court in San Jose in May 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Court filings also disclosed that Holmes plans on accusing Balwani of domestic abuse, including throwing “hard, sharp objects” at her.\u003c/p>\n\u003cp>“This pattern of abuse and coercive control continued over the approximately decade-long duration of Ms. Holmes and Mr. Balwani’s relationship, including during the period of the charged conspiracies,” Holmes’ lawyers wrote \u003ca href=\"https://www.documentcloud.org/documents/21050910-elizabth-holmes-motion\" target=\"_blank\" rel=\"noopener noreferrer\">in a filing\u003c/a>.\u003c/p>\n\u003cp>Through his attorneys, Balwani has denied any abuse.\u003c/p>\n\u003ch3>Company thwarted prosecutors by destroying database of blood-test results\u003c/h3>\n\u003cp>Theranos has made prosecutors’ job harder by destroying what could have been damning evidence against Holmes: a large database of three years’ worth of blood-sample lab reports.\u003c/p>\n\u003cp>The government, in April 2018, subpoenaed the database, which could have helped prosecutors establish a pattern of flawed or incorrect results through statistical analysis of the data. Months later, Theranos provided an encrypted version of the hard drive.\u003c/p>\n\u003cp>[aside postid='pop_13203']At the time, Theranos’ attorneys wrote in an email to CEO David Taylor, Holmes’ replacement, “We should just give [the Justice Department] the database and let them figure it out. … [T]hey won’t know what to do with it and … the people who do are in India,” according to court filings.\u003c/p>\n\u003cp>Yet Theranos officials never handed over a “private key” that would have allowed prosecutors into the database, meaning all the data was locked.\u003c/p>\n\u003cp>Four days later, Theranos informed the court it had physically destroyed the entire database, something that came as a surprise to prosecutors.\u003c/p>\n\u003cp>There is no evidence that Holmes had anything to do with the destruction of the database, but prosecutors allege they will not have access to it because of the company’s actions.\u003c/p>\n\u003cp>Holmes maintains the database could have proven her innocence.\u003c/p>\n\u003ch3>Investors who lost millions want justice\u003c/h3>\n\u003cp>Investor Eileen Lepera recounts talking to a big-name venture capitalist during the early hype days of Theranos.\u003c/p>\n\u003cp>“He did say to me that he thinks it’s the next Apple, and that I should get as much as I could get,” Lepera said in an interview.\u003c/p>\n\u003cp>She plunged more than $100,000 into the company, more than she had ever invested.\u003c/p>\n\u003cp>“Everybody kind of assumed that someone else had done due diligence and that these machines did in fact work,” she said. “So it was a con on a grand scale.”\u003c/p>\n\u003cfigure id=\"attachment_13902204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-490572292_custom-fe48cf6d85f5cf87bf61fd6ea8719071b785fa55-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Holmes speaks as former U.S. President Bill Clinton listens during the closing session of the Clinton Global Initiative in 2015 in New York City. \u003ccite>(JP Yim/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, an \u003ca href=\"https://www.wsj.com/articles/theranos-cost-business-and-government-leaders-more-than-600-million-1525392082\" target=\"_blank\" rel=\"noopener noreferrer\">estimated\u003c/a> $700 million was lost in the unraveling of Theranos. Prosecutors allege that governments, businesses and other investors were duped by Holmes’ deceptive statements and presentations.\u003c/p>\n\u003cp>Holmes’ legal team is expected to cast the story in a different light, arguing that while Holmes may have exaggerated her company’s achievements, she never intended to mislead patients and investors.\u003c/p>\n\u003cp>And Thomas Joo, a law professor at the University of California, Davis, said convincing a jury that Holmes intentionally defrauded investors and patients won’t be easy.\u003c/p>\n\u003cp>“They may have thought that she mistakenly had too much faith in her product. She said false things, but if you say them unintentionally, it’s not a crime,” Joo said.\u003c/p>\n\u003cp>While Lepera is not hopeful she will ever recoup her investment in Theranos, she said if the jury convicts Holmes, it will be something of a relief.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I would feel good if justice was served,” Lepera said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Holmes+Promised+Miracles+By+A+Finger+Prick.+Her+Fraud+Trial+Starts+Tuesday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1437,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 43
},
"modified": 1705007842,
"excerpt": "The Theranos founder's defense involves accusing her ex-boyfriend and former business partner Ramesh Balwani of domestic abuse.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Theranos founder's defense involves accusing her ex-boyfriend and former business partner Ramesh Balwani of domestic abuse.",
"title": "Elizabeth Holmes' Criminal Fraud Trial Started Today in San Jose | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Elizabeth Holmes' Criminal Fraud Trial Started Today in San Jose",
"datePublished": "2021-08-31T11:59:34-07:00",
"dateModified": "2024-01-11T13:17:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "elizabeth-holmes-criminal-fraud-trial-started-today-in-san-jose",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1031314018&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 30 Aug 2021 05:00:00 -0400",
"nprLastModifiedDate": "Tue, 31 Aug 2021 13:27:01 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/30/1031314018/elizabeth-holmes-theranos-fraud-trial?ft=nprml&f=1031314018",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/08/20210831_me_elizabeth_holmes_promised_miracles_by_a_finger_prick_her_fraud_trial_starts_tuesday.mp3?orgId=1&topicId=1019&d=229&p=3&story=1031314018&ft=nprml&f=1031314018",
"nprImageAgency": "Bloomberg via Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/11032738449-842f1d.m3u?orgId=1&topicId=1019&d=229&p=3&story=1031314018&ft=nprml&f=1031314018",
"nprStoryId": "1031314018",
"nprByline": "Bobby Allyn",
"sticky": false,
"nprImageCredit": "Nina Riggio",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 31 Aug 2021 13:26:00 -0400",
"path": "/arts/13902202/elizabeth-holmes-criminal-fraud-trial-started-today-in-san-jose",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/08/20210831_me_elizabeth_holmes_promised_miracles_by_a_finger_prick_her_fraud_trial_starts_tuesday.mp3?orgId=1&topicId=1019&d=229&p=3&story=1031314018&ft=nprml&f=1031314018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jury selection in the criminal fraud trial of Elizabeth Holmes started on Tuesday, the beginning of a highly anticipated legal showdown over one of the most spectacular Silicon Valley scandals in recent history.\u003c/p>\n\u003cp>Federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ndca/page/file/1135066/download\" target=\"_blank\" rel=\"noopener noreferrer\">have charged\u003c/a> Holmes and her former business partner and ex-boyfriend, Ramesh “Sunny” Balwani, with defrauding investors and patients of their blood-testing company Theranos, which Holmes and Balwani claimed would revolutionize laboratory medicine.\u003c/p>\n\u003cp>Patients who were wrongly diagnosed by Theranos tests are set to testify against Holmes. Some had been told they were HIV-positive. Another, who was pregnant at the time, was incorrectly told she had miscarried her baby.\u003c/p>\n\u003cp>After the jury is chosen, opening arguments are slated to start on Sept. 8. The trial in San Jose, Calif., is expected to stretch on for four months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13882749",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In court documents unsealed Saturday, and \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">first reported by NPR\u003c/a>, Holmes’ legal team said she is highly likely to take the witness stand and accuse Balwani of manipulating and abusing her to such a degree that it affected her state of mind during the time of the alleged fraud.\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>Both she and Balwani, who will be tried separately next year, have pleaded not guilty. If convicted, each faces a prison sentence of up to 20 years.\u003c/p>\n\u003cp>Holmes, who is reportedly married to the heir of a California hotel chain, Billy Evans, recently gave birth. The judge has said there \u003ca href=\"https://www.cnbc.com/2021/06/15/elizabeth-holmes-attorneys-concerned-about-finding-unbiased-jurors.html\" target=\"_blank\" rel=\"noopener noreferrer\">will be arrangements\u003c/a> allowing her to care for her baby boy in the courthouse.\u003c/p>\n\u003ch3>”Fake it until you make it” approach led to criminal charges\u003c/h3>\n\u003cp>A Stanford University dropout, Holmes dazzled Silicon Valley by founding Theranos at age 19. She promised its technology could screen patients for hundreds of diseases with just a finger prick of blood.\u003c/p>\n\u003cp>Holmes cultivated a mystique that included a signature black turtleneck like Apple co-founder Steve Jobs, whom she greatly \u003ca href=\"https://www.cbsnews.com/video/elizabeth-holmes-steve-jobs-is-an-incredible-symbol-of-whats-possible/\" target=\"_blank\" rel=\"noopener noreferrer\">admired\u003c/a>.\u003c/p>\n\u003cp>Big names from former President Bill Clinton to former Secretary of State Henry Kissinger to Mexican billionaire Carlos Slim believed in the company, helping it attract global investment and a valuation of more than $9 billion before its fall from grace in 2015.\u003c/p>\n\u003cfigure id=\"attachment_13902216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png\" alt=\"\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1020x625.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-768x470.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1536x941.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-2048x1255.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1920x1176.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes poses with her Edison machine; a blood testing unit that was supposed to revolutionize healthcare. It never actually worked. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when a series of \u003ca href=\"https://www.wsj.com/articles/theranos-has-struggled-with-blood-tests-1444881901\" target=\"_blank\" rel=\"noopener noreferrer\">stories\u003c/a> in \u003cem>The Wall Street Journal\u003c/em> showed that Theranos was not using some new breakthrough equipment, as Holmes had claimed. Journalist John Carreyrou revealed that, instead, the company relied mostly on traditional blood-processing machines. And Carreyrou’s reporting revealed a pattern of flaws and inaccuracies in patient results.\u003c/p>\n\u003cp>“There’s an expression that’s become synonymous with the business culture of Silicon Valley, which is, ‘Fake it until you make it,’ ” Carreyrou told NPR about Holmes. “She thought it was OK to behave that way.”\u003c/p>\n\u003cp>Walgreens stores in Arizona and California stopped allowing patients to get Theranos tests. Plans to expand testing to the rest of the nation were scrapped.\u003c/p>\n\u003cp>As Theranos became embattled, Holmes was defiant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "futureofyou_442098",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“This is what happens when you work to change things. First, they think you’re crazy, then they fight you, then all of a sudden you change the world,” Holmes \u003ca href=\"https://www.youtube.com/watch?v=rGfaJZAdfNE\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> CNBC in 2018.\u003c/p>\n\u003cp>Federal prosecutors allege that she was not a scientific genius but rather a huckster who knowingly shilled technology that gave flawed or downright incorrect results to patients and left investors holding the bag.\u003c/p>\n\u003cp>Carreyrou, who has left \u003cem>The Journal\u003c/em> and will be chronicling the trial in a podcast called \u003cem>Bad Blood: The Final Chapter\u003c/em>, said the case could have far-reaching implications for tech startup culture.\u003c/p>\n\u003cp>“If she’s acquitted, the lesson that a lot of entrepreneurs and VCs [venture capitalists] in Silicon Valley are going to retain is that Holmes got away with it,” Carreyrou said.\u003c/p>\n\u003cp>“If she’s convicted, I expect it to be a wake-up call in Silicon Valley to how much you can exaggerate, how much you can lie, how much you can experiment with your products before you cross that bright red line before you have to go to prison.”\u003c/p>\n\u003ch3>Holmes expected to claim ex-boyfriend manipulated her\u003c/h3>\n\u003cp>Holmes and Balwani had a secret romance when she was Theranos’ CEO and he was its president and chief operating officer. Now the two are blaming each other for the company’s downfall.\u003c/p>\n\u003cp>Holmes’ defense strategy came into view \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">in the documents the court released\u003c/a> on Saturday: that Holmes intends to say Balwani controlled what Holmes’ ate, when she slept, how she dressed and with whom she spoke. The alleged abuse created a “a mental health condition bearing on guilt,” her lawyers have written.\u003c/p>\n\u003cfigure id=\"attachment_13902203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902203\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1232732720_custom-9dc74dde3897585049630b1c09602a743047d6e2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes, the founder and former chief executive officer of Theranos, leaves federal court in San Jose in May 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Court filings also disclosed that Holmes plans on accusing Balwani of domestic abuse, including throwing “hard, sharp objects” at her.\u003c/p>\n\u003cp>“This pattern of abuse and coercive control continued over the approximately decade-long duration of Ms. Holmes and Mr. Balwani’s relationship, including during the period of the charged conspiracies,” Holmes’ lawyers wrote \u003ca href=\"https://www.documentcloud.org/documents/21050910-elizabth-holmes-motion\" target=\"_blank\" rel=\"noopener noreferrer\">in a filing\u003c/a>.\u003c/p>\n\u003cp>Through his attorneys, Balwani has denied any abuse.\u003c/p>\n\u003ch3>Company thwarted prosecutors by destroying database of blood-test results\u003c/h3>\n\u003cp>Theranos has made prosecutors’ job harder by destroying what could have been damning evidence against Holmes: a large database of three years’ worth of blood-sample lab reports.\u003c/p>\n\u003cp>The government, in April 2018, subpoenaed the database, which could have helped prosecutors establish a pattern of flawed or incorrect results through statistical analysis of the data. Months later, Theranos provided an encrypted version of the hard drive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_13203",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At the time, Theranos’ attorneys wrote in an email to CEO David Taylor, Holmes’ replacement, “We should just give [the Justice Department] the database and let them figure it out. … [T]hey won’t know what to do with it and … the people who do are in India,” according to court filings.\u003c/p>\n\u003cp>Yet Theranos officials never handed over a “private key” that would have allowed prosecutors into the database, meaning all the data was locked.\u003c/p>\n\u003cp>Four days later, Theranos informed the court it had physically destroyed the entire database, something that came as a surprise to prosecutors.\u003c/p>\n\u003cp>There is no evidence that Holmes had anything to do with the destruction of the database, but prosecutors allege they will not have access to it because of the company’s actions.\u003c/p>\n\u003cp>Holmes maintains the database could have proven her innocence.\u003c/p>\n\u003ch3>Investors who lost millions want justice\u003c/h3>\n\u003cp>Investor Eileen Lepera recounts talking to a big-name venture capitalist during the early hype days of Theranos.\u003c/p>\n\u003cp>“He did say to me that he thinks it’s the next Apple, and that I should get as much as I could get,” Lepera said in an interview.\u003c/p>\n\u003cp>She plunged more than $100,000 into the company, more than she had ever invested.\u003c/p>\n\u003cp>“Everybody kind of assumed that someone else had done due diligence and that these machines did in fact work,” she said. “So it was a con on a grand scale.”\u003c/p>\n\u003cfigure id=\"attachment_13902204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-490572292_custom-fe48cf6d85f5cf87bf61fd6ea8719071b785fa55-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Holmes speaks as former U.S. President Bill Clinton listens during the closing session of the Clinton Global Initiative in 2015 in New York City. \u003ccite>(JP Yim/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, an \u003ca href=\"https://www.wsj.com/articles/theranos-cost-business-and-government-leaders-more-than-600-million-1525392082\" target=\"_blank\" rel=\"noopener noreferrer\">estimated\u003c/a> $700 million was lost in the unraveling of Theranos. Prosecutors allege that governments, businesses and other investors were duped by Holmes’ deceptive statements and presentations.\u003c/p>\n\u003cp>Holmes’ legal team is expected to cast the story in a different light, arguing that while Holmes may have exaggerated her company’s achievements, she never intended to mislead patients and investors.\u003c/p>\n\u003cp>And Thomas Joo, a law professor at the University of California, Davis, said convincing a jury that Holmes intentionally defrauded investors and patients won’t be easy.\u003c/p>\n\u003cp>“They may have thought that she mistakenly had too much faith in her product. She said false things, but if you say them unintentionally, it’s not a crime,” Joo said.\u003c/p>\n\u003cp>While Lepera is not hopeful she will ever recoup her investment in Theranos, she said if the jury convicts Holmes, it will be something of a relief.\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>“I would feel good if justice was served,” Lepera said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Holmes+Promised+Miracles+By+A+Finger+Prick.+Her+Fraud+Trial+Starts+Tuesday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902202/elizabeth-holmes-criminal-fraud-trial-started-today-in-san-jose",
"authors": [
"byline_arts_13902202"
],
"categories": [
"arts_1",
"arts_75"
],
"tags": [
"arts_977",
"arts_1084",
"arts_3001",
"arts_1935"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902210",
"label": "arts_137"
},
"arts_13902196": {
"type": "posts",
"id": "arts_13902196",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902196",
"score": null,
"sort": [
1630432638000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1630432638,
"format": "standard",
"title": "Mike Richards Won't Even Executive Produce 'Jeopardy!' Anymore",
"headTitle": "Mike Richards Won’t Even Executive Produce ‘Jeopardy!’ Anymore | KQED",
"content": "\u003cp>After weeks of tumult at \u003cem>Jeopardy!,\u003c/em> Mike Richards has departed from the show altogether. He is the show’s erstwhile executive producer and was recently named one of the game show’s two new hosts—but stepped down just days after \u003ca href=\"https://www.theringer.com/tv/2021/8/18/22631299/mike-richards-jeopardy-host-search-process-past-comments\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ringer\u003c/em> detailed \u003c/a>sexist and other inappropriate comments he had made in his former role as a podcast host.\u003c/p>\n\u003cp>Less than two weeks ago, Sony Pictures Television told NPR in an emailed statement: “Richards will remain in his role leading the show.” The company spokesperson added, “It is our hope that as EP, he will continue to do so with professionalism and respect.”\u003c/p>\n\u003cp>[aside postid='arts_13901062']But on Tuesday, Sony Pictures Television shared with NPR a memo sent by Suzanne Prete, the executive vice president of business and strategy for \u003cem>Wheel of Fortune\u003c/em> and \u003cem>Jeopardy!, \u003c/em>to the two game shows’ staff. In part, it reads:\u003c/p>\n\u003cp>“Dear Team,\u003c/p>\n\u003cp>I’m writing to let you know that Mike will no longer be serving as EP of \u003cem>Wheel \u003c/em>and \u003cem>Jeopardy!\u003c/em> effective immediately. We had hoped that when Mike stepped down from the host position at \u003cem>Jeopardy!\u003c/em> it would have minimized the disruption and internal difficulties we have all experienced these last few weeks. That clearly has not happened.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mike+Richards+Is+No+Longer+%27Jeopardy%21%27+Executive+Producer%2C+After+Being+Ousted+As+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 227,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705007848,
"excerpt": "Fans were furious when the 'Jeopardy!' producer was named as its new host. Now he's had to step down from the show altogether.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Fans were furious when the 'Jeopardy!' producer was named as its new host. Now he's had to step down from the show altogether.",
"title": "Mike Richards Won't Even Executive Produce 'Jeopardy!' Anymore | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mike Richards Won't Even Executive Produce 'Jeopardy!' Anymore",
"datePublished": "2021-08-31T10:57:18-07:00",
"dateModified": "2024-01-11T13:17:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mike-richards-wont-even-executive-produce-jeopardy-anymore",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1032901655&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 31 Aug 2021 12:55:35 -0400",
"nprLastModifiedDate": "Tue, 31 Aug 2021 13:37:26 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/31/1032901655/jeopardy-mike-richards-removed-executive-producer?ft=nprml&f=1032901655",
"nprImageAgency": "WireImage/Getty Images",
"nprStoryId": "1032901655",
"nprByline": "Anastasia Tsioulcas",
"sticky": false,
"nprImageCredit": "Joe Scarnici",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 31 Aug 2021 13:37:00 -0400",
"path": "/arts/13902196/mike-richards-wont-even-executive-produce-jeopardy-anymore",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After weeks of tumult at \u003cem>Jeopardy!,\u003c/em> Mike Richards has departed from the show altogether. He is the show’s erstwhile executive producer and was recently named one of the game show’s two new hosts—but stepped down just days after \u003ca href=\"https://www.theringer.com/tv/2021/8/18/22631299/mike-richards-jeopardy-host-search-process-past-comments\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ringer\u003c/em> detailed \u003c/a>sexist and other inappropriate comments he had made in his former role as a podcast host.\u003c/p>\n\u003cp>Less than two weeks ago, Sony Pictures Television told NPR in an emailed statement: “Richards will remain in his role leading the show.” The company spokesperson added, “It is our hope that as EP, he will continue to do so with professionalism and respect.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13901062",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But on Tuesday, Sony Pictures Television shared with NPR a memo sent by Suzanne Prete, the executive vice president of business and strategy for \u003cem>Wheel of Fortune\u003c/em> and \u003cem>Jeopardy!, \u003c/em>to the two game shows’ staff. In part, it reads:\u003c/p>\n\u003cp>“Dear Team,\u003c/p>\n\u003cp>I’m writing to let you know that Mike will no longer be serving as EP of \u003cem>Wheel \u003c/em>and \u003cem>Jeopardy!\u003c/em> effective immediately. We had hoped that when Mike stepped down from the host position at \u003cem>Jeopardy!\u003c/em> it would have minimized the disruption and internal difficulties we have all experienced these last few weeks. That clearly has not happened.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mike+Richards+Is+No+Longer+%27Jeopardy%21%27+Executive+Producer%2C+After+Being+Ousted+As+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902196/mike-richards-wont-even-executive-produce-jeopardy-anymore",
"authors": [
"byline_arts_13902196"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_11688",
"arts_7580",
"arts_15345"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902197",
"label": "arts_137"
},
"arts_13902064": {
"type": "posts",
"id": "arts_13902064",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902064",
"score": null,
"sort": [
1630089579000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1630089579,
"format": "standard",
"title": "JoJo Siwa Will Make History in the First Same-Sex Pairing on 'Dancing With The Stars'",
"headTitle": "JoJo Siwa Will Make History in the First Same-Sex Pairing on ‘Dancing With The Stars’ | KQED",
"content": "\u003cp>Before stepping on the dance floor, actress and YouTube personality JoJo Siwa is already making history—as the first \u003cem>Dancing With the Stars\u003c/em> contestant to be matched with a same-sex partner.\u003c/p>\n\u003cp>[aside postid='pop_96314']“I am so excited to be a part of \u003cem>Dancing With the Stars\u003c/em>, Season 30, and to be dancing with a girl,” Siwa said in \u003ca href=\"https://twitter.com/DancingABC/status/1430984677712666628\" target=\"_blank\" rel=\"noopener noreferrer\">a tweet\u003c/a>. “I think it’s so cool.”\u003c/p>\n\u003cp>Siwa’s partner will be introduced on the season premiere airing on Sept. 20.\u003c/p>\n\u003cp>“I think it’s cool. I think it breaks a wall that’s never been done before,” Siwa said during this year’s Television Critics Association virtual summer press tour.\u003c/p>\n\u003cp>“I think it’s really special that I get to share with the world that you can love who you love, but now you can dance with who you want to dance with,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/DancingABC/status/1430984677712666628\u003c/p>\n\u003cp>Siwa, 18, opened up about her sexuality this January over a series of posts on TikTok and Instagram, saying she’s “happy that the world gets to see this side of [her] life.”\u003c/p>\n\u003cp>Siwa has over 60.5 million followers across her social media pages and over 3.6 billion views on YouTube. Last year, Siwa was \u003ca href=\"https://time.com/collection/100-most-influential-people-2020/5888473/jojo-siwa/\" target=\"_blank\" rel=\"noopener noreferrer\">named one of \u003cem>Time\u003c/em> magazine’s \u003c/a>100 Most Influential People.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The remaining 13 celebrities for \u003cem>Dancing With the Stars\u003c/em> \u003ca href=\"https://www.dgepress.com/abc/pressrelease/for-its-milestone-30th-season-dancing-with-the-stars-reveals-its-first-two-celebrity-contestants-suni-lee-and-jojo-siwa/\" target=\"_blank\" rel=\"noopener noreferrer\">will be announced \u003c/a>on Sept. 8 on ABC’s \u003cem>Good Morning America\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=JoJo+Siwa+Will+Make+History+In+The+1st+Same-Sex+Pairing+On+%27Dancing+With+The+Stars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 271,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705007885,
"excerpt": "The actress and social media personality came out this past January, saying she's a member of the LGBTQ+ community.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The actress and social media personality came out this past January, saying she's a member of the LGBTQ+ community.",
"title": "JoJo Siwa Will Make History in the First Same-Sex Pairing on 'Dancing With The Stars' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "JoJo Siwa Will Make History in the First Same-Sex Pairing on 'Dancing With The Stars'",
"datePublished": "2021-08-27T11:39:39-07:00",
"dateModified": "2024-01-11T13:18:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jojo-siwa-will-make-history-in-the-first-same-sex-pairing-on-dancing-with-the-stars",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1031653432&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 27 Aug 2021 11:09:44 -0400",
"nprLastModifiedDate": "Fri, 27 Aug 2021 12:51:48 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/27/1031653432/jojo-siwa-first-same-sex-pairing-dancing-stars?ft=nprml&f=1031653432",
"nprImageAgency": "Getty Images for Instagram and Facebook ",
"nprStoryId": "1031653432",
"nprByline": "Jonathan Franklin",
"sticky": false,
"nprImageCredit": "Amy Sussman",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 27 Aug 2021 12:51:00 -0400",
"path": "/arts/13902064/jojo-siwa-will-make-history-in-the-first-same-sex-pairing-on-dancing-with-the-stars",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before stepping on the dance floor, actress and YouTube personality JoJo Siwa is already making history—as the first \u003cem>Dancing With the Stars\u003c/em> contestant to be matched with a same-sex partner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_96314",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I am so excited to be a part of \u003cem>Dancing With the Stars\u003c/em>, Season 30, and to be dancing with a girl,” Siwa said in \u003ca href=\"https://twitter.com/DancingABC/status/1430984677712666628\" target=\"_blank\" rel=\"noopener noreferrer\">a tweet\u003c/a>. “I think it’s so cool.”\u003c/p>\n\u003cp>Siwa’s partner will be introduced on the season premiere airing on Sept. 20.\u003c/p>\n\u003cp>“I think it’s cool. I think it breaks a wall that’s never been done before,” Siwa said during this year’s Television Critics Association virtual summer press tour.\u003c/p>\n\u003cp>“I think it’s really special that I get to share with the world that you can love who you love, but now you can dance with who you want to dance with,” she 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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1430984677712666628"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Siwa, 18, opened up about her sexuality this January over a series of posts on TikTok and Instagram, saying she’s “happy that the world gets to see this side of [her] life.”\u003c/p>\n\u003cp>Siwa has over 60.5 million followers across her social media pages and over 3.6 billion views on YouTube. Last year, Siwa was \u003ca href=\"https://time.com/collection/100-most-influential-people-2020/5888473/jojo-siwa/\" target=\"_blank\" rel=\"noopener noreferrer\">named one of \u003cem>Time\u003c/em> magazine’s \u003c/a>100 Most Influential People.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The remaining 13 celebrities for \u003cem>Dancing With the Stars\u003c/em> \u003ca href=\"https://www.dgepress.com/abc/pressrelease/for-its-milestone-30th-season-dancing-with-the-stars-reveals-its-first-two-celebrity-contestants-suni-lee-and-jojo-siwa/\" target=\"_blank\" rel=\"noopener noreferrer\">will be announced \u003c/a>on Sept. 8 on ABC’s \u003cem>Good Morning America\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=JoJo+Siwa+Will+Make+History+In+The+1st+Same-Sex+Pairing+On+%27Dancing+With+The+Stars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902064/jojo-siwa-will-make-history-in-the-first-same-sex-pairing-on-dancing-with-the-stars",
"authors": [
"byline_arts_13902064"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_879",
"arts_3226"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902068",
"label": "arts_137"
},
"arts_13901852": {
"type": "posts",
"id": "arts_13901852",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13901852",
"score": null,
"sort": [
1629991550000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1629991550,
"format": "standard",
"title": "On the Joys and Complexities of Aaliyah's Music, 20 Years After Her Death",
"headTitle": "On the Joys and Complexities of Aaliyah’s Music, 20 Years After Her Death | KQED",
"content": "\u003cp>It was such a pleasurable experience being able to finally listen to \u003ca href=\"https://www.npr.org/artists/15121547/aaliyah\" target=\"_blank\" rel=\"noopener noreferrer\">Aaliyah\u003c/a>‘s \u003cem>One In A Million \u003c/em>album from beginning to end this past weekend, her lilting vocals pouring smoothly through my Sonos speakers. This was a moment fans have been waiting on for years, as \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes business wrangling\u003c/a> has long kept the majority of her relatively small discography off most streaming platforms. And as of Aug. 20, just a few days ahead of the 20\u003csup>th\u003c/sup> anniversary of her death in a plane crash, it was finally here, her second studio album available to enjoy and rewind and skip ahead through and immerse one’s self in, in all its sonic glory.\u003c/p>\n\u003cp>Her third and final studio album is set to arrive in the fall, and an equilibrium of sorts will have ultimately been restored. Because for far too long, only her first and most fraught album, \u003cem>Age Ain’t Nothing But A Number\u003c/em>, had been widely available, a fact that felt like a slap in the face to her legacy.\u003c/p>\n\u003cp>In death, as in life, Aaliyah deserved better.\u003c/p>\n\u003cp>But what, exactly, does “better” entail? Especially within the last couple of years, some things have become undeniably obvious: She deserved to have been better protected by those around her, to have had someone who saw the writing on the wall when a grown man, \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>, was penning songs for a 14-year-old to sing as a come-on to an older “lover.” The music industry shouldn’t have swept the revelation of Kelly’s illegal marriage to Aaliyah when she was just 15 (or the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">many other allegations\u003c/a> that have arisen over the years) under the rug.\u003c/p>\n\u003cp>More difficult, at least for me as both a fan and critic, is to reconcile that early part of her career with the rest of her body of work. A part of me would love nothing more than to never have to mention Kelly—who would later go by the ghastly nickname “\u003ca href=\"http://abcnewsradioonline.com/music-news/2016/2/3/r-kelly-reveals-why-he-calls-himself-the-pied-piper-of-rb.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Pied Piper of R&B\u003c/a>“—when discussing Aaliyah. It remains infuriating that (alleged) victims of sexual abuse are forever linked in name to their abusers, often to the detriment and overshadowing of everything else they accomplished. But while \u003cem>Age Ain’t Nothing But A Number \u003c/em>is forever tainted in the minds of fans, it’s impossible to ignore how crucial it was in establishing Aaliyah’s continuous appeal even as she distanced herself from Kelly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KKSz4NE6PwY&t=1s\u003c/p>\n\u003cp>It’s been said many times before, but really it can’t be overstated: “\u003ca href=\"https://www.youtube.com/watch?v=d03dmVx86Nk\" target=\"_blank\" rel=\"noopener noreferrer\">One in a Million\u003c/a>” sounds as if it was predicting the future; indeed, it sounds like now. In Timbaland’s skittering production, Missy Elliott’s staccato phrasing of the lyrics, and Aaliyah’s mellifluous interpretation you can hear the descendants that have followed in their wake—\u003ca href=\"https://www.youtube.com/watch?v=mKtVHStkB5c\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oEm3lY3trRU\" target=\"_blank\" rel=\"noopener noreferrer\">Jhené Aiko\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oXgA3koewAo\" target=\"_blank\" rel=\"noopener noreferrer\">Syd\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DFMEBquxeO8\" target=\"_blank\" rel=\"noopener noreferrer\">Normani\u003c/a>. Her various looks in the video were sleek, sexy, and mysterious, as she donned low-rise pants, crop tops and bras, and, in one scene, a silver eye-patch that seemed to come straight from a sci-fi dystopia playbook.\u003c/p>\n\u003cp>She seemed fully formed, utterly confident and secure in her body. This was true in her other songs from that era as well, from “\u003ca href=\"https://www.youtube.com/watch?v=v_Qy6vaMsFQ\" target=\"_blank\" rel=\"noopener noreferrer\">If Your Girl Only Knew\u003c/a>,” a self-assured midtempo joint in which she boasts how she won’t “be no fool” for a guy who’s trying to cheat with her, to “\u003ca href=\"https://www.youtube.com/watch?v=98ha5Ng913w\" target=\"_blank\" rel=\"noopener noreferrer\">Are You That Somebody?\u003c/a>” an earworm where she insists on keeping a hookup on the low until he can prove he’s serious. And if you were a young Black girl in the ’90s like I was, of course you were probably going to look at her and be struck by how cool she seemed, without thinking twice about it. You’d assume she was a grown woman, because if you’re below the age of 12, everyone older than you seems \u003cem>ancient\u003c/em>, and what young person is able to assert that much control? Yet she wasn’t even 18 when she recorded \u003cem>One in a Million\u003c/em>.\u003c/p>\n\u003cp>That’s what made her special—she stood out from the balladeers of the era (the Mariahs, Whitneys, En Vogues) and the teen pop stars (Brandy, Britney, Christina), in part because she seemed in command without needing to do too much. Her theatrics were subdued and contained, more slinky and less in-your-face. In hindsight, though, I’ve begun to wonder what it meant that she was introduced to the world as being fully formed, despite being a young teenager, an age where everyone is still trying to figure themselves out (and usually awkwardly so).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JUGjras2kvQ\u003c/p>\n\u003cp>Female teen pop stars usually emerge with a hint of innocence baked into their public persona, even as they playfully suggest their own sexuality and fuel many a boy’s or man’s sexual fantasy: Britney Spears is the prototypical example here (the schoolgirl outfit and pigtails in “\u003ca href=\"https://www.youtube.com/watch?v=C-u5WLJ9Yk4\" target=\"_blank\" rel=\"noopener noreferrer\">…Baby One More Time\u003c/a>“; that infamous \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\">\u003cem>Rolling Stone\u003c/em> cover\u003c/a> with the lingerie and stuffed Teletubby), but this was also true of Spears’ contemporaries in the ’90s and early ’00s, from Christina Aguilera to Mandy Moore to Jessica Simpson. The playbook for the biggest of those stars seemed to be this: Breakout by towing the line between virginal and sexy (and piss off religious groups and middle-class suburban parents in the process), then, a couple of years later, when you’re in your late teens or early 20s, enter your “mature” period, i.e. going full-on SEX KITTEN. Suggest a \u003ca href=\"https://www.youtube.com/watch?v=Mzybwwf2HoQ#t=02m46s\" target=\"_blank\" rel=\"noopener noreferrer\">sweaty, dance-orgy\u003c/a> in your video; get \u003ca href=\"https://www.youtube.com/watch?v=4Rg3sAb8Id8\" target=\"_blank\" rel=\"noopener noreferrer\">dirrty\u003c/a>. Get \u003ca href=\"https://www.buzzfeed.com/mjs538/wtf-parents\" target=\"_blank\" rel=\"noopener noreferrer\">blamed for corrupting America’s tweens\u003c/a>.\u003c/p>\n\u003cp>Aaliyah was rarely granted the opportunity to display that kind of innocence—she was branded as “mature” out the gate. From the beginning of her career, the dichotomy between her actual and perceived age was integral to her image. It was right there in the title of that debut album; in the lyrics of that song, where she seductively coos that “age ain’t nothin’ but a number, throwing down ain’t nothin’ but a thang.” In early interviews her exact age was usually treated as a jokey open secret—”\u003ca href=\"https://www.youtube.com/watch?v=0jMwKZE6Ce4\" target=\"_blank\" rel=\"noopener noreferrer\">I won’t reveal it, but I’m in my teens\u003c/a>, I’m still in high school”; “\u003ca href=\"https://www.youtube.com/watch?v=gwasUMVq-_8\" target=\"_blank\" rel=\"noopener noreferrer\">You know I don’t tell my age, it’s a secret\u003c/a>,” she’d coyly respond, with a giggle and a smile, when asked about how old she was.\u003c/p>\n\u003cfigure id=\"attachment_13901854\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg\" alt=\"Aaliyah at 'The Tonight Show with Jay Leno' at the NBC Studios in Burbank, July 2001.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Aaliyah at ‘The Tonight Show with Jay Leno’ at the NBC Studios in Burbank, July 2001. \u003ccite>(Kevin Winter/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clashing with the acknowledgment of her youth was how Kelly and her management team played down that crucial facet of her age, in the way she swaggered and sauntered in the baggy outfits, dark sunglasses, and swoop of hair draped over one eye, as if she were a neo-noir femme fatale from the ‘hood. (\u003ca href=\"https://www.tcm.com/tcmdb/person/107416%7C150623/Veronica-Lake/#overview\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Lake\u003c/a> was a frequent reference point for critics describing her look and mysterious aura.) The public pretty much accepted and played along with it. \u003cem>Billboard\u003c/em>‘s review of \u003cem>Age Ain’t Nothing But a Number \u003c/em>described her as an “\u003ca href=\"https://books.google.com/books?id=UAgEAAAAMBAJ&q=aaliyah+age+ain't+nothing+but+a+number&pg=PA64#v=snippet&q=aaliyah%20age%20ain't%20nothing%20but%20a%20number&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">urban teenaged siren\u003c/a>“; a \u003ca href=\"https://www.washingtonpost.com/blogs/click-track/post/archives-remembering-aaliyah/2011/08/25/gIQAEjUwdJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">review in the \u003cem>Washington Post\u003c/em>\u003c/a> held her up as a refreshing divergence from other teen stars of the moment, because unlike them, “she doesn’t try to assume emotions she’s never felt or take on material outside her range of experience”—implying that the image of Aaliyah as a fully sexualized woman (not a 15-year-old girl) with experience “go[ing] all the way” had been so strong at the time as to have been normalized and etched in stone. When that’s the public’s first impression of you in this business, there’s ostensibly no going back.\u003c/p>\n\u003cp>And so she didn’t—instead, she continued to build upon that persona while leaving Kelly behind. If \u003cem>One in a Million \u003c/em>largely eschews the ickiness that lies at the core of \u003cem>Age Ain’t Nothing But a Number\u003c/em>, it’s because that Svengali wasn’t involved, and Aaliyah was a little bit older. Still, there’s that tension and looming sadness over the thought that the singer was forced to grow up too soon. The evolution from \u003cem>Age\u003c/em>-era Aaliyah to \u003cem>One in a Million\u003c/em>-era Aaliyah wasn’t such a huge leap stylistically; she was still being put forth and received as more experienced than her counterparts, and comparisons to Janet Jackson (who by then had fully transitioned into her uber-sensual \u003ca href=\"https://www.youtube.com/watch?v=2b_KfAGiglc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>janet.\u003c/em>-era\u003c/a>) began to surface. “\u003ca href=\"https://books.google.com/books?id=4SsEAAAAMBAJ&pg=PA133#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">It’s still illegal to act on the thought\u003c/a>” of Aaliyah’s sexuality, dream hampton wrote in her contemporary review of \u003cem>One in a Million\u003c/em>, while noting that since her debut, the singer had “encourage[d] Lolita fantasies.” (hampton would later go on to executive produce the \u003ca href=\"https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons\" target=\"_blank\" rel=\"noopener noreferrer\">damning and watershed docuseries \u003cem>Surviving R. Kelly\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>In the video for the title track, her love interest is Ginuwine, the R&B singer who was nearly a decade older than her; years later, Timbaland, who was 23 when he first met 16-year-old Aaliyah, would \u003ca href=\"https://www.complex.com/music/2019/01/timbaland-confesses-his-love-for-underage-aaliyah-in-resurfaced-video#cookie-settings\">admit in an interview\u003c/a> that he was “in love” with her, and had to “fight” to control his attraction to her. (By all accounts, their friendship remained platonic and professional.)\u003c/p>\n\u003cp>Aaliyah’s was a different trapping of fame as a teenaged female pop star—instead of dodging invasive questions about whether or not she was \u003ca href=\"http://www.mtv.com/news/1473676/britney-talks-sex-turns-out-she-really-wasnt-that-innocent/\" target=\"_blank\" rel=\"noopener noreferrer\">a virgin\u003c/a> or if she’d \u003ca href=\"https://www.youtube.com/watch?v=rgImasn50ZU\" target=\"_blank\" rel=\"noopener noreferrer\">gotten a boob job\u003c/a>, she dodged questions about an illegal marriage to a much older man while few seemed disturbed by the fact that this was even a question to be asked in the first place. (Most interviewers, in fact, seemed titillated by it.) Neither scenario is a healthy one for a young girl to have to deal with, but at least in the case of Aaliyah, the divide seems stark: to the public, white girlhood was something to be fiercely protected and saved from “corruption”; Black girlhood—Black innocence—cannot even be comprehended. And when Black girlhood isn’t fathomed, it’s not protected, as the many accounts from the young girls and women featured in \u003cem>Surviving R. Kelly \u003c/em>has made clear.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rTkba6mXMis\u003c/p>\n\u003cp>And yet, there’s a narrative of resilience that can be gleaned from \u003cem>One In A Million\u003c/em>, one that unearths power in the singer’s creative choices over her image and sound post-Kelly. She seemingly took the parts that felt the most like herself—the air of mystery, the laid-back vibes—and reworked them to help pioneer a new way forward in pop and R&B. Her boldness feels less put-upon and more natural, like the musings of the older teenager/budding young adult she was at the time, especially on an earnest track like “4 Page Letter.” I love to listen to it in this way, because I remember what it was like to be 16, 17-years-old, exploring my own personality and approach to relationships.\u003c/p>\n\u003cp>In the last years of her life, she had found more nuance to mine at 22-years-old—on “Try Again,” for instance, she expresses hesitancy in starting a new relationship, while coaxing her romantic interest to try a bit harder to earn her love and respect. That word that would follow her until the end—”mature”—still applied here, but this time it applied more to how she played with and expanded upon her vocal lyrical interpretations than it did her sexuality. She was growing up, even though she had been treated like an adult for much of her childhood.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The tragedy of Aaliyah is there are so many “What ifs?” that will forever remain unresolved. The upside is that, at least professionally, she managed to persevere in spite of the many people and institutions that failed her personally. Her final albums deserve to be heard in this way, and her legacy deserves to be remembered this way, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Made+Aaliyah+So+Special+Is+More+Complicated+Than+It+Seems&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2161,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705007896,
"excerpt": "At 14, she stood out for her cool and \"mature\" demeanor. But at the heart of that persona was a youth lost too soon.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At 14, she stood out for her cool and "mature" demeanor. But at the heart of that persona was a youth lost too soon.",
"title": "On the Joys and Complexities of Aaliyah's Music, 20 Years After Her Death | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Joys and Complexities of Aaliyah's Music, 20 Years After Her Death",
"datePublished": "2021-08-26T08:25:50-07:00",
"dateModified": "2024-01-11T13:18:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-joys-and-complexities-of-aaliyahs-music-20-years-after-her-death",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1030628420&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 25 Aug 2021 06:00:49 -0400",
"nprLastModifiedDate": "Wed, 25 Aug 2021 10:53:28 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/25/1030628420/what-made-aaliyah-so-special-is-more-complicated-than-it-seems?ft=nprml&f=1030628420",
"nprImageAgency": "Getty Images",
"nprStoryId": "1030628420",
"nprByline": "Aisha Harris",
"sticky": false,
"nprImageCredit": "Catherine McGann",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 25 Aug 2021 10:53:00 -0400",
"path": "/arts/13901852/on-the-joys-and-complexities-of-aaliyahs-music-20-years-after-her-death",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was such a pleasurable experience being able to finally listen to \u003ca href=\"https://www.npr.org/artists/15121547/aaliyah\" target=\"_blank\" rel=\"noopener noreferrer\">Aaliyah\u003c/a>‘s \u003cem>One In A Million \u003c/em>album from beginning to end this past weekend, her lilting vocals pouring smoothly through my Sonos speakers. This was a moment fans have been waiting on for years, as \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes business wrangling\u003c/a> has long kept the majority of her relatively small discography off most streaming platforms. And as of Aug. 20, just a few days ahead of the 20\u003csup>th\u003c/sup> anniversary of her death in a plane crash, it was finally here, her second studio album available to enjoy and rewind and skip ahead through and immerse one’s self in, in all its sonic glory.\u003c/p>\n\u003cp>Her third and final studio album is set to arrive in the fall, and an equilibrium of sorts will have ultimately been restored. Because for far too long, only her first and most fraught album, \u003cem>Age Ain’t Nothing But A Number\u003c/em>, had been widely available, a fact that felt like a slap in the face to her legacy.\u003c/p>\n\u003cp>In death, as in life, Aaliyah deserved better.\u003c/p>\n\u003cp>But what, exactly, does “better” entail? Especially within the last couple of years, some things have become undeniably obvious: She deserved to have been better protected by those around her, to have had someone who saw the writing on the wall when a grown man, \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>, was penning songs for a 14-year-old to sing as a come-on to an older “lover.” The music industry shouldn’t have swept the revelation of Kelly’s illegal marriage to Aaliyah when she was just 15 (or the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">many other allegations\u003c/a> that have arisen over the years) under the rug.\u003c/p>\n\u003cp>More difficult, at least for me as both a fan and critic, is to reconcile that early part of her career with the rest of her body of work. A part of me would love nothing more than to never have to mention Kelly—who would later go by the ghastly nickname “\u003ca href=\"http://abcnewsradioonline.com/music-news/2016/2/3/r-kelly-reveals-why-he-calls-himself-the-pied-piper-of-rb.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Pied Piper of R&B\u003c/a>“—when discussing Aaliyah. It remains infuriating that (alleged) victims of sexual abuse are forever linked in name to their abusers, often to the detriment and overshadowing of everything else they accomplished. But while \u003cem>Age Ain’t Nothing But A Number \u003c/em>is forever tainted in the minds of fans, it’s impossible to ignore how crucial it was in establishing Aaliyah’s continuous appeal even as she distanced herself from Kelly.\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/KKSz4NE6PwY'\n title='//www.youtube.com/embed/KKSz4NE6PwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s been said many times before, but really it can’t be overstated: “\u003ca href=\"https://www.youtube.com/watch?v=d03dmVx86Nk\" target=\"_blank\" rel=\"noopener noreferrer\">One in a Million\u003c/a>” sounds as if it was predicting the future; indeed, it sounds like now. In Timbaland’s skittering production, Missy Elliott’s staccato phrasing of the lyrics, and Aaliyah’s mellifluous interpretation you can hear the descendants that have followed in their wake—\u003ca href=\"https://www.youtube.com/watch?v=mKtVHStkB5c\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oEm3lY3trRU\" target=\"_blank\" rel=\"noopener noreferrer\">Jhené Aiko\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oXgA3koewAo\" target=\"_blank\" rel=\"noopener noreferrer\">Syd\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DFMEBquxeO8\" target=\"_blank\" rel=\"noopener noreferrer\">Normani\u003c/a>. Her various looks in the video were sleek, sexy, and mysterious, as she donned low-rise pants, crop tops and bras, and, in one scene, a silver eye-patch that seemed to come straight from a sci-fi dystopia playbook.\u003c/p>\n\u003cp>She seemed fully formed, utterly confident and secure in her body. This was true in her other songs from that era as well, from “\u003ca href=\"https://www.youtube.com/watch?v=v_Qy6vaMsFQ\" target=\"_blank\" rel=\"noopener noreferrer\">If Your Girl Only Knew\u003c/a>,” a self-assured midtempo joint in which she boasts how she won’t “be no fool” for a guy who’s trying to cheat with her, to “\u003ca href=\"https://www.youtube.com/watch?v=98ha5Ng913w\" target=\"_blank\" rel=\"noopener noreferrer\">Are You That Somebody?\u003c/a>” an earworm where she insists on keeping a hookup on the low until he can prove he’s serious. And if you were a young Black girl in the ’90s like I was, of course you were probably going to look at her and be struck by how cool she seemed, without thinking twice about it. You’d assume she was a grown woman, because if you’re below the age of 12, everyone older than you seems \u003cem>ancient\u003c/em>, and what young person is able to assert that much control? Yet she wasn’t even 18 when she recorded \u003cem>One in a Million\u003c/em>.\u003c/p>\n\u003cp>That’s what made her special—she stood out from the balladeers of the era (the Mariahs, Whitneys, En Vogues) and the teen pop stars (Brandy, Britney, Christina), in part because she seemed in command without needing to do too much. Her theatrics were subdued and contained, more slinky and less in-your-face. In hindsight, though, I’ve begun to wonder what it meant that she was introduced to the world as being fully formed, despite being a young teenager, an age where everyone is still trying to figure themselves out (and usually awkwardly so).\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/JUGjras2kvQ'\n title='//www.youtube.com/embed/JUGjras2kvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Female teen pop stars usually emerge with a hint of innocence baked into their public persona, even as they playfully suggest their own sexuality and fuel many a boy’s or man’s sexual fantasy: Britney Spears is the prototypical example here (the schoolgirl outfit and pigtails in “\u003ca href=\"https://www.youtube.com/watch?v=C-u5WLJ9Yk4\" target=\"_blank\" rel=\"noopener noreferrer\">…Baby One More Time\u003c/a>“; that infamous \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\">\u003cem>Rolling Stone\u003c/em> cover\u003c/a> with the lingerie and stuffed Teletubby), but this was also true of Spears’ contemporaries in the ’90s and early ’00s, from Christina Aguilera to Mandy Moore to Jessica Simpson. The playbook for the biggest of those stars seemed to be this: Breakout by towing the line between virginal and sexy (and piss off religious groups and middle-class suburban parents in the process), then, a couple of years later, when you’re in your late teens or early 20s, enter your “mature” period, i.e. going full-on SEX KITTEN. Suggest a \u003ca href=\"https://www.youtube.com/watch?v=Mzybwwf2HoQ#t=02m46s\" target=\"_blank\" rel=\"noopener noreferrer\">sweaty, dance-orgy\u003c/a> in your video; get \u003ca href=\"https://www.youtube.com/watch?v=4Rg3sAb8Id8\" target=\"_blank\" rel=\"noopener noreferrer\">dirrty\u003c/a>. Get \u003ca href=\"https://www.buzzfeed.com/mjs538/wtf-parents\" target=\"_blank\" rel=\"noopener noreferrer\">blamed for corrupting America’s tweens\u003c/a>.\u003c/p>\n\u003cp>Aaliyah was rarely granted the opportunity to display that kind of innocence—she was branded as “mature” out the gate. From the beginning of her career, the dichotomy between her actual and perceived age was integral to her image. It was right there in the title of that debut album; in the lyrics of that song, where she seductively coos that “age ain’t nothin’ but a number, throwing down ain’t nothin’ but a thang.” In early interviews her exact age was usually treated as a jokey open secret—”\u003ca href=\"https://www.youtube.com/watch?v=0jMwKZE6Ce4\" target=\"_blank\" rel=\"noopener noreferrer\">I won’t reveal it, but I’m in my teens\u003c/a>, I’m still in high school”; “\u003ca href=\"https://www.youtube.com/watch?v=gwasUMVq-_8\" target=\"_blank\" rel=\"noopener noreferrer\">You know I don’t tell my age, it’s a secret\u003c/a>,” she’d coyly respond, with a giggle and a smile, when asked about how old she was.\u003c/p>\n\u003cfigure id=\"attachment_13901854\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg\" alt=\"Aaliyah at 'The Tonight Show with Jay Leno' at the NBC Studios in Burbank, July 2001.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Aaliyah at ‘The Tonight Show with Jay Leno’ at the NBC Studios in Burbank, July 2001. \u003ccite>(Kevin Winter/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clashing with the acknowledgment of her youth was how Kelly and her management team played down that crucial facet of her age, in the way she swaggered and sauntered in the baggy outfits, dark sunglasses, and swoop of hair draped over one eye, as if she were a neo-noir femme fatale from the ‘hood. (\u003ca href=\"https://www.tcm.com/tcmdb/person/107416%7C150623/Veronica-Lake/#overview\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Lake\u003c/a> was a frequent reference point for critics describing her look and mysterious aura.) The public pretty much accepted and played along with it. \u003cem>Billboard\u003c/em>‘s review of \u003cem>Age Ain’t Nothing But a Number \u003c/em>described her as an “\u003ca href=\"https://books.google.com/books?id=UAgEAAAAMBAJ&q=aaliyah+age+ain't+nothing+but+a+number&pg=PA64#v=snippet&q=aaliyah%20age%20ain't%20nothing%20but%20a%20number&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">urban teenaged siren\u003c/a>“; a \u003ca href=\"https://www.washingtonpost.com/blogs/click-track/post/archives-remembering-aaliyah/2011/08/25/gIQAEjUwdJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">review in the \u003cem>Washington Post\u003c/em>\u003c/a> held her up as a refreshing divergence from other teen stars of the moment, because unlike them, “she doesn’t try to assume emotions she’s never felt or take on material outside her range of experience”—implying that the image of Aaliyah as a fully sexualized woman (not a 15-year-old girl) with experience “go[ing] all the way” had been so strong at the time as to have been normalized and etched in stone. When that’s the public’s first impression of you in this business, there’s ostensibly no going back.\u003c/p>\n\u003cp>And so she didn’t—instead, she continued to build upon that persona while leaving Kelly behind. If \u003cem>One in a Million \u003c/em>largely eschews the ickiness that lies at the core of \u003cem>Age Ain’t Nothing But a Number\u003c/em>, it’s because that Svengali wasn’t involved, and Aaliyah was a little bit older. Still, there’s that tension and looming sadness over the thought that the singer was forced to grow up too soon. The evolution from \u003cem>Age\u003c/em>-era Aaliyah to \u003cem>One in a Million\u003c/em>-era Aaliyah wasn’t such a huge leap stylistically; she was still being put forth and received as more experienced than her counterparts, and comparisons to Janet Jackson (who by then had fully transitioned into her uber-sensual \u003ca href=\"https://www.youtube.com/watch?v=2b_KfAGiglc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>janet.\u003c/em>-era\u003c/a>) began to surface. “\u003ca href=\"https://books.google.com/books?id=4SsEAAAAMBAJ&pg=PA133#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">It’s still illegal to act on the thought\u003c/a>” of Aaliyah’s sexuality, dream hampton wrote in her contemporary review of \u003cem>One in a Million\u003c/em>, while noting that since her debut, the singer had “encourage[d] Lolita fantasies.” (hampton would later go on to executive produce the \u003ca href=\"https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons\" target=\"_blank\" rel=\"noopener noreferrer\">damning and watershed docuseries \u003cem>Surviving R. Kelly\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>In the video for the title track, her love interest is Ginuwine, the R&B singer who was nearly a decade older than her; years later, Timbaland, who was 23 when he first met 16-year-old Aaliyah, would \u003ca href=\"https://www.complex.com/music/2019/01/timbaland-confesses-his-love-for-underage-aaliyah-in-resurfaced-video#cookie-settings\">admit in an interview\u003c/a> that he was “in love” with her, and had to “fight” to control his attraction to her. (By all accounts, their friendship remained platonic and professional.)\u003c/p>\n\u003cp>Aaliyah’s was a different trapping of fame as a teenaged female pop star—instead of dodging invasive questions about whether or not she was \u003ca href=\"http://www.mtv.com/news/1473676/britney-talks-sex-turns-out-she-really-wasnt-that-innocent/\" target=\"_blank\" rel=\"noopener noreferrer\">a virgin\u003c/a> or if she’d \u003ca href=\"https://www.youtube.com/watch?v=rgImasn50ZU\" target=\"_blank\" rel=\"noopener noreferrer\">gotten a boob job\u003c/a>, she dodged questions about an illegal marriage to a much older man while few seemed disturbed by the fact that this was even a question to be asked in the first place. (Most interviewers, in fact, seemed titillated by it.) Neither scenario is a healthy one for a young girl to have to deal with, but at least in the case of Aaliyah, the divide seems stark: to the public, white girlhood was something to be fiercely protected and saved from “corruption”; Black girlhood—Black innocence—cannot even be comprehended. And when Black girlhood isn’t fathomed, it’s not protected, as the many accounts from the young girls and women featured in \u003cem>Surviving R. Kelly \u003c/em>has made clear.\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/rTkba6mXMis'\n title='//www.youtube.com/embed/rTkba6mXMis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet, there’s a narrative of resilience that can be gleaned from \u003cem>One In A Million\u003c/em>, one that unearths power in the singer’s creative choices over her image and sound post-Kelly. She seemingly took the parts that felt the most like herself—the air of mystery, the laid-back vibes—and reworked them to help pioneer a new way forward in pop and R&B. Her boldness feels less put-upon and more natural, like the musings of the older teenager/budding young adult she was at the time, especially on an earnest track like “4 Page Letter.” I love to listen to it in this way, because I remember what it was like to be 16, 17-years-old, exploring my own personality and approach to relationships.\u003c/p>\n\u003cp>In the last years of her life, she had found more nuance to mine at 22-years-old—on “Try Again,” for instance, she expresses hesitancy in starting a new relationship, while coaxing her romantic interest to try a bit harder to earn her love and respect. That word that would follow her until the end—”mature”—still applied here, but this time it applied more to how she played with and expanded upon her vocal lyrical interpretations than it did her sexuality. She was growing up, even though she had been treated like an adult for much of her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tragedy of Aaliyah is there are so many “What ifs?” that will forever remain unresolved. The upside is that, at least professionally, she managed to persevere in spite of the many people and institutions that failed her personally. Her final albums deserve to be heard in this way, and her legacy deserves to be remembered this way, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Made+Aaliyah+So+Special+Is+More+Complicated+Than+It+Seems&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13901852/on-the-joys-and-complexities-of-aaliyahs-music-20-years-after-her-death",
"authors": [
"byline_arts_13901852"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_8054",
"arts_2461",
"arts_924"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13901881",
"label": "arts_137"
},
"arts_13901810": {
"type": "posts",
"id": "arts_13901810",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13901810",
"score": null,
"sort": [
1629915707000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1629915707,
"format": "standard",
"title": "Man Photographed as a Baby on 'Nevermind' Cover Sues Nirvana for Sexual Exploitation",
"headTitle": "Man Photographed as a Baby on ‘Nevermind’ Cover Sues Nirvana for Sexual Exploitation | KQED",
"content": "\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\n\u003cp>https://twitter.com/TheOtherGSP/status/1430539014692478980\u003c/p>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\n\u003cp>https://twitter.com/UpToTASK/status/1430549339676438529\u003c/p>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 594,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705007908,
"excerpt": "Spencer Elden, now 30, is suing the band, the photographer and the record labels that he says profited from the image. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Spencer Elden, now 30, is suing the band, the photographer and the record labels that he says profited from the image. ",
"title": "Man Photographed as a Baby on 'Nevermind' Cover Sues Nirvana for Sexual Exploitation | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Man Photographed as a Baby on 'Nevermind' Cover Sues Nirvana for Sexual Exploitation",
"datePublished": "2021-08-25T11:21:47-07:00",
"dateModified": "2024-01-11T13:18:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "man-photographed-as-a-baby-on-nevermind-cover-sues-nirvana-for-sexual-exploitation",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1030918537&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 25 Aug 2021 09:07:59 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 25 Aug 2021 11:41:34 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/25/1030918537/spencer-elden-nirvana-nevermind-baby-cover-lawsuit?ft=nprml&f=1030918537",
"nprImageAgency": "Getty Images",
"nprStoryId": "1030918537",
"nprByline": "Deepa Shivaram",
"sticky": false,
"nprImageCredit": "Samir Hussein",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 25 Aug 2021 11:41:00 -0400",
"path": "/arts/13901810/man-photographed-as-a-baby-on-nevermind-cover-sues-nirvana-for-sexual-exploitation",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\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 cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1430539014692478980"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1430549339676438529"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13901810/man-photographed-as-a-baby-on-nevermind-cover-sues-nirvana-for-sexual-exploitation",
"authors": [
"byline_arts_13901810"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_6742",
"arts_905",
"arts_1553"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13901811",
"label": "arts_137"
},
"arts_13901695": {
"type": "posts",
"id": "arts_13901695",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13901695",
"score": null,
"sort": [
1629758683000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1629758683,
"format": "standard",
"title": "R. Kelly and Britney TV Docs Tap Into 'Consequence Culture,' Not Cancel Culture",
"headTitle": "R. Kelly and Britney TV Docs Tap Into ‘Consequence Culture,’ Not Cancel Culture | KQED",
"content": "\u003cp>As the trial of disgraced R&B superstar R. Kelly \u003ca href=\"https://www.kqed.org/arts/13901400/opinion-13-years-after-the-last-r-kelly-trial-the-culture-has-changed\" target=\"_blank\" rel=\"noopener noreferrer\">unfolds\u003c/a>, it’s tough to imagine reaching this moment without the 2019 Lifetime docuseries \u003cem>Surviving R. Kelly\u003c/em>.\u003c/p>\n\u003cp>That’s because the six-part project seemed to transform public opinion about the singer in an instant, with detailed, harrowing accounts from women who said Kelly spent decades pursuing underage girls for sex and maintaining abusive relationships. Kelly has denied the allegations.\u003c/p>\n\u003cp>The public reaction—including prosecutors asking other potential victims to come forward and his longtime label, RCA, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dissolving its working relationship\u003c/a> with him—was surprising because journalists had been reporting on similar allegations against the singer since the late 1990s.\u003c/p>\n\u003cp>But cultural critic and filmmaker dream hampton, an executive producer on \u003cem>Surviving R. Kelly\u003c/em>, says this project hit the world in a crucial moment: Social media spread word quickly, a younger generation was less tolerant, and viewers were drawn in by the power of seeing a succession of survivors telling their stories directly to the camera.\u003c/p>\n\u003cp>“American history isn’t history until there’s a movie about it,” hampton says, wryly. “I was packaging \u003cem>Surviving R. Kelly\u003c/em> for people who probably didn’t read beyond the headlines. … That’s what I thought I could bring to it. There’s something about a visual [of] someone unpacking their story.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vbjnkvxIoSI\u003c/p>\n\u003ch3>A new genre for new sensibilities\u003c/h3>\n\u003cp>Turns out, \u003cem>Surviving R. Kelly \u003c/em>was one on a growing list of documentary projects challenging audiences to reconsider old controversies with fresh eyes, informed by the #MeToo movement’s revelations about harassment, assault and trauma. And those films could bring very tangible results.\u003c/p>\n\u003cp>In February, FX and Hulu’s film \u003cem>The New York Times Presents: Framing Britney Spears\u003c/em> jump-started public conversation about sexist, abusive media coverage of the pop star and the 2008 conservatorship that gave control of her finances to her father, Jamie Spears.\u003c/p>\n\u003cp>[aside postid='arts_13892800']HBO’s four-part \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> gave a detailed presentation of Dylan Farrow’s allegations from 1992 that her father, superstar director Woody Allen, molested her as a child (the filmmaker has denied those allegations). And HBO Max’s film \u003ca href=\"https://www.npr.org/2020/05/24/861630479/movie-review-on-the-record-with-russell-simmons-accusers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>On the Record\u003c/em>\u003c/a> debuted last year as a chilling account featuring several women who accused rap mogul Russell Simmons of sexual assault in incidents ranging back to the mid-1990s, which he has denied.\u003c/p>\n\u003cp>“I feel these documentaries could only have been made now … because the standards of accountability have changed,” says Poh Si Teng, producer of the documentary \u003cem>St. Louis Superman \u003c/em>and an executive at the International Documentary Association.\u003c/p>\n\u003cp>“The feedback from the web and social media platforms is so much faster, we are holding ourselves more accountable [as a society],” she adds. “In light of all the reckonings from the past year, especially after the murder of George Floyd and the pandemic, more and more filmmakers and participants are going to be bold. They’re going to be ready to speak now. … So these filmmakers can revisit all these old controversies [on] misogyny, conservatorship, child sexual abuse and rape in ways that they could not before.”\u003c/p>\n\u003ch3>Reconsidering media bullying of Britney\u003c/h3>\n\u003cp>Samantha Stark, director of \u003cem>Framing Britney Spears\u003c/em>, says she originally planned to just reexamine past media coverage of the pop star. After seeing how “incredibly misogynistic” it all was—demonstrated by a clip in the film of an interviewer asking Spears about her breasts—Stark and her team realized many of the journalists who had reported these stories were male.\u003c/p>\n\u003cp>“We just had this idea: What if we try to find women to interview instead?” she says. “We got a completely different picture of her: a woman who was business-savvy, who even as a teenager contributed creatively to her work, who had the stamina of an Olympic athlete and knew what she was doing … someone with agency.”\u003c/p>\n\u003cp>Then, the filmmakers discovered valid concerns about the fairness of Spears’ conservatorship, originally criticized by followers of the “Free Britney” movement. Suddenly, a fan uprising that some treated like a punchline was inspiring renewed public scrutiny. Most recently, Spears’ father has announced his intention to \u003ca href=\"https://www.kqed.org/arts/13901212\" target=\"_blank\" rel=\"noopener noreferrer\">step down from the conservatorship\u003c/a>, but with no definitive timetable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n1wRN5muenY\u003c/p>\n\u003cp>Stark says she thought about \u003cem>Surviving R. Kelly\u003c/em> while making her film, because both projects centered on contentions that people found tough to believe because the alleged abuse was happening in plain sight. And both projects also pointed out the complicity of the general public, which often laughed at comedians’ jokes about Spears’ mental health or Kelly’s proclivities without considering the darker truths behind the punchlines.\u003c/p>\n\u003cp>“I’m the same age as Britney, so when I was watching so much of the footage, I was reliving my [teenage years], when it was OK to bully people and shame them for being different,” says Stark, age 39. “It did feel like we weren’t ready for all these documentaries until now. We do, I think, listen to what women have to say more now.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']That’s an idea which resonates for Amy Ziering, co-director of both \u003cem>Allen v. Farrow\u003c/em> and \u003cem>On the Record\u003c/em> with longtime filmmaking partner Kirby Dick. Ziering says, when she was pitching potential distributors on their 2012 documentary about sexual assault in the military, \u003cem>The Invisible War\u003c/em>, she was told no one wanted to hear women’s stories—especially stories of women raped in the military.\u003c/p>\n\u003cp>Now, \u003cem>Allen v. Farrow\u003c/em> has seven Emmy nominations and \u003cem>On the Record\u003c/em> was part of HBO Max’s opening slate of original programs when the streaming platform launched in May 2020. These days, Ziering says, such films can perform a sort of pop culture jiu-jitsu—leveraging the celebrity that some stars have used to shield themselves to educate viewers, instead.\u003c/p>\n\u003cp>“Would anyone really care to watch a documentary about conservatorship … no, you watched because it was about Britney Spears,” she adds, saying \u003cem>Allen V. Farrow\u003c/em> dropped important information about how the court system treats custody cases and how allegations of incest are investigated. “What is lovely about these films is we get to capitalize on the culture of celebrity for good—not for marketing … but to actually enlighten people.”\u003c/p>\n\u003ch3>Not all films have the same impact\u003c/h3>\n\u003cp>Some critics say these films can be one-sided; Kelly, Allen and Simmons all declined requests to be interviewed for these projects and have denied the crimes they are accused of within them.\u003c/p>\n\u003cp>And not every project can have the impact filmmakers anticipate. Drew Dixon, a former record company executive whose accounts of being raped by Russell Simmons and sexually harassed by well-known producer/executive L.A. Reid form the center of \u003cem>On the Record\u003c/em>, says the film’s impact was blunted when media star Oprah Winfrey \u003ca href=\"https://www.nytimes.com/2020/01/17/movies/oprah-winfrey-russell-simmons-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\">pulled out as an executive producer \u003c/a>in early 2020.\u003c/p>\n\u003cp>“It’s almost worse than if she’d never been involved … [it] left this shadow of confusion and doubt around the film,” says Dixon. “A lot of the powerful voices in the Black community that could have drawn attention to the discussion about Black women and our unique vulnerability to sexual violence didn’t happen. And frankly, I feel more isolated now than I did before.”\u003c/p>\n\u003cp>The film, which also explores how Black women’s stories of harassment and assault may have been left out of the #MeToo movement, also faced criticism from some who viewed it as an attack on successful Black men. Both Dixon and \u003cem>Surviving R. Kelly\u003c/em>‘s dream hampton noted that the subjects of their films still retain support among some Black people, wary of a white-dominated media system going after stars once considered admirable examples of Black achievement.\u003c/p>\n\u003cp>[aside postid='arts_13875370']Still, Dixon says she has no regrets about participating in the film. “A proliferation of documentaries that center survivors and move the spotlight away from the famous, accused, powerful people … that’s really critically important,” she adds.” That’s how we really humanize the experience and the pain and the real cost of sexual violence for the people who have experienced it.”\u003c/p>\n\u003cp>Poh Si Teng of the International Documentary Association expects to see many more of these types of films produced, with a tangible impact on the public discourse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s not cancel culture,” she says, of the way some celebrities have seen their work sidelined after serious allegations. “It’s consequence culture.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+And+Britney+TV+Docs+Tap+Into+%27Consequence+Culture%2C%27+Not+Cancel+Culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1500,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705007919,
"excerpt": "'Framing Britney Spears' and 'Surviving R. Kelly' are among documentary projects challenging us to reconsider old controversies.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Framing Britney Spears' and 'Surviving R. Kelly' are among documentary projects challenging us to reconsider old controversies.",
"title": "R. Kelly and Britney TV Docs Tap Into 'Consequence Culture,' Not Cancel Culture | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "R. Kelly and Britney TV Docs Tap Into 'Consequence Culture,' Not Cancel Culture",
"datePublished": "2021-08-23T15:44:43-07:00",
"dateModified": "2024-01-11T13:18:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "r-kelly-and-britney-tv-docs-tap-into-consequence-culture-not-cancel-culture",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1029623250&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 23 Aug 2021 05:00:00 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 23 Aug 2021 14:34:28 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons?ft=nprml&f=1029623250",
"nprImageAgency": "Pool via Getty Images",
"nprStoryId": "1029623250",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Antonio Perez",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 23 Aug 2021 14:34:00 -0400",
"path": "/arts/13901695/r-kelly-and-britney-tv-docs-tap-into-consequence-culture-not-cancel-culture",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the trial of disgraced R&B superstar R. Kelly \u003ca href=\"https://www.kqed.org/arts/13901400/opinion-13-years-after-the-last-r-kelly-trial-the-culture-has-changed\" target=\"_blank\" rel=\"noopener noreferrer\">unfolds\u003c/a>, it’s tough to imagine reaching this moment without the 2019 Lifetime docuseries \u003cem>Surviving R. Kelly\u003c/em>.\u003c/p>\n\u003cp>That’s because the six-part project seemed to transform public opinion about the singer in an instant, with detailed, harrowing accounts from women who said Kelly spent decades pursuing underage girls for sex and maintaining abusive relationships. Kelly has denied the allegations.\u003c/p>\n\u003cp>The public reaction—including prosecutors asking other potential victims to come forward and his longtime label, RCA, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dissolving its working relationship\u003c/a> with him—was surprising because journalists had been reporting on similar allegations against the singer since the late 1990s.\u003c/p>\n\u003cp>But cultural critic and filmmaker dream hampton, an executive producer on \u003cem>Surviving R. Kelly\u003c/em>, says this project hit the world in a crucial moment: Social media spread word quickly, a younger generation was less tolerant, and viewers were drawn in by the power of seeing a succession of survivors telling their stories directly to the camera.\u003c/p>\n\u003cp>“American history isn’t history until there’s a movie about it,” hampton says, wryly. “I was packaging \u003cem>Surviving R. Kelly\u003c/em> for people who probably didn’t read beyond the headlines. … That’s what I thought I could bring to it. There’s something about a visual [of] someone unpacking their story.”\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/vbjnkvxIoSI'\n title='//www.youtube.com/embed/vbjnkvxIoSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A new genre for new sensibilities\u003c/h3>\n\u003cp>Turns out, \u003cem>Surviving R. Kelly \u003c/em>was one on a growing list of documentary projects challenging audiences to reconsider old controversies with fresh eyes, informed by the #MeToo movement’s revelations about harassment, assault and trauma. And those films could bring very tangible results.\u003c/p>\n\u003cp>In February, FX and Hulu’s film \u003cem>The New York Times Presents: Framing Britney Spears\u003c/em> jump-started public conversation about sexist, abusive media coverage of the pop star and the 2008 conservatorship that gave control of her finances to her father, Jamie Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892800",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>HBO’s four-part \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> gave a detailed presentation of Dylan Farrow’s allegations from 1992 that her father, superstar director Woody Allen, molested her as a child (the filmmaker has denied those allegations). And HBO Max’s film \u003ca href=\"https://www.npr.org/2020/05/24/861630479/movie-review-on-the-record-with-russell-simmons-accusers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>On the Record\u003c/em>\u003c/a> debuted last year as a chilling account featuring several women who accused rap mogul Russell Simmons of sexual assault in incidents ranging back to the mid-1990s, which he has denied.\u003c/p>\n\u003cp>“I feel these documentaries could only have been made now … because the standards of accountability have changed,” says Poh Si Teng, producer of the documentary \u003cem>St. Louis Superman \u003c/em>and an executive at the International Documentary Association.\u003c/p>\n\u003cp>“The feedback from the web and social media platforms is so much faster, we are holding ourselves more accountable [as a society],” she adds. “In light of all the reckonings from the past year, especially after the murder of George Floyd and the pandemic, more and more filmmakers and participants are going to be bold. They’re going to be ready to speak now. … So these filmmakers can revisit all these old controversies [on] misogyny, conservatorship, child sexual abuse and rape in ways that they could not before.”\u003c/p>\n\u003ch3>Reconsidering media bullying of Britney\u003c/h3>\n\u003cp>Samantha Stark, director of \u003cem>Framing Britney Spears\u003c/em>, says she originally planned to just reexamine past media coverage of the pop star. After seeing how “incredibly misogynistic” it all was—demonstrated by a clip in the film of an interviewer asking Spears about her breasts—Stark and her team realized many of the journalists who had reported these stories were male.\u003c/p>\n\u003cp>“We just had this idea: What if we try to find women to interview instead?” she says. “We got a completely different picture of her: a woman who was business-savvy, who even as a teenager contributed creatively to her work, who had the stamina of an Olympic athlete and knew what she was doing … someone with agency.”\u003c/p>\n\u003cp>Then, the filmmakers discovered valid concerns about the fairness of Spears’ conservatorship, originally criticized by followers of the “Free Britney” movement. Suddenly, a fan uprising that some treated like a punchline was inspiring renewed public scrutiny. Most recently, Spears’ father has announced his intention to \u003ca href=\"https://www.kqed.org/arts/13901212\" target=\"_blank\" rel=\"noopener noreferrer\">step down from the conservatorship\u003c/a>, but with no definitive timetable.\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/n1wRN5muenY'\n title='//www.youtube.com/embed/n1wRN5muenY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stark says she thought about \u003cem>Surviving R. Kelly\u003c/em> while making her film, because both projects centered on contentions that people found tough to believe because the alleged abuse was happening in plain sight. And both projects also pointed out the complicity of the general public, which often laughed at comedians’ jokes about Spears’ mental health or Kelly’s proclivities without considering the darker truths behind the punchlines.\u003c/p>\n\u003cp>“I’m the same age as Britney, so when I was watching so much of the footage, I was reliving my [teenage years], when it was OK to bully people and shame them for being different,” says Stark, age 39. “It did feel like we weren’t ready for all these documentaries until now. We do, I think, listen to what women have to say more now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13899317",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That’s an idea which resonates for Amy Ziering, co-director of both \u003cem>Allen v. Farrow\u003c/em> and \u003cem>On the Record\u003c/em> with longtime filmmaking partner Kirby Dick. Ziering says, when she was pitching potential distributors on their 2012 documentary about sexual assault in the military, \u003cem>The Invisible War\u003c/em>, she was told no one wanted to hear women’s stories—especially stories of women raped in the military.\u003c/p>\n\u003cp>Now, \u003cem>Allen v. Farrow\u003c/em> has seven Emmy nominations and \u003cem>On the Record\u003c/em> was part of HBO Max’s opening slate of original programs when the streaming platform launched in May 2020. These days, Ziering says, such films can perform a sort of pop culture jiu-jitsu—leveraging the celebrity that some stars have used to shield themselves to educate viewers, instead.\u003c/p>\n\u003cp>“Would anyone really care to watch a documentary about conservatorship … no, you watched because it was about Britney Spears,” she adds, saying \u003cem>Allen V. Farrow\u003c/em> dropped important information about how the court system treats custody cases and how allegations of incest are investigated. “What is lovely about these films is we get to capitalize on the culture of celebrity for good—not for marketing … but to actually enlighten people.”\u003c/p>\n\u003ch3>Not all films have the same impact\u003c/h3>\n\u003cp>Some critics say these films can be one-sided; Kelly, Allen and Simmons all declined requests to be interviewed for these projects and have denied the crimes they are accused of within them.\u003c/p>\n\u003cp>And not every project can have the impact filmmakers anticipate. Drew Dixon, a former record company executive whose accounts of being raped by Russell Simmons and sexually harassed by well-known producer/executive L.A. Reid form the center of \u003cem>On the Record\u003c/em>, says the film’s impact was blunted when media star Oprah Winfrey \u003ca href=\"https://www.nytimes.com/2020/01/17/movies/oprah-winfrey-russell-simmons-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\">pulled out as an executive producer \u003c/a>in early 2020.\u003c/p>\n\u003cp>“It’s almost worse than if she’d never been involved … [it] left this shadow of confusion and doubt around the film,” says Dixon. “A lot of the powerful voices in the Black community that could have drawn attention to the discussion about Black women and our unique vulnerability to sexual violence didn’t happen. And frankly, I feel more isolated now than I did before.”\u003c/p>\n\u003cp>The film, which also explores how Black women’s stories of harassment and assault may have been left out of the #MeToo movement, also faced criticism from some who viewed it as an attack on successful Black men. Both Dixon and \u003cem>Surviving R. Kelly\u003c/em>‘s dream hampton noted that the subjects of their films still retain support among some Black people, wary of a white-dominated media system going after stars once considered admirable examples of Black achievement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13875370",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Still, Dixon says she has no regrets about participating in the film. “A proliferation of documentaries that center survivors and move the spotlight away from the famous, accused, powerful people … that’s really critically important,” she adds.” That’s how we really humanize the experience and the pain and the real cost of sexual violence for the people who have experienced it.”\u003c/p>\n\u003cp>Poh Si Teng of the International Documentary Association expects to see many more of these types of films produced, with a tangible impact on the public discourse.\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>“It’s not cancel culture,” she says, of the way some celebrities have seen their work sidelined after serious allegations. “It’s consequence culture.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+And+Britney+TV+Docs+Tap+Into+%27Consequence+Culture%2C%27+Not+Cancel+Culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13901695/r-kelly-and-britney-tv-docs-tap-into-consequence-culture-not-cancel-culture",
"authors": [
"byline_arts_13901695"
],
"categories": [
"arts_1",
"arts_2303",
"arts_75"
],
"tags": [
"arts_13475",
"arts_10387",
"arts_2767",
"arts_831",
"arts_2461",
"arts_6443",
"arts_5050"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13901699",
"label": "arts_137"
},
"arts_13901650": {
"type": "posts",
"id": "arts_13901650",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13901650",
"score": null,
"sort": [
1629752180000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1629752180,
"format": "standard",
"title": "That Beyoncé, Jay-Z and Basquiat Ad for Tiffany's Does Have Some Upsides, You Know",
"headTitle": "That Beyoncé, Jay-Z and Basquiat Ad for Tiffany’s Does Have Some Upsides, You Know | KQED",
"content": "\u003cp>Online discourse got a little heated on Sunday and Monday over a new Tiffany & Co. ad campaign featuring Beyoncé, Jay-Z and a long-unseen Jean-Michel Basquiat painting titled \u003cem>Equals Pi\u003c/em>. The “About Love” campaign will last an entire year, hit print publications on Sept. 2, and, at some stage, will take over every digital billboard in Times Square.\u003c/p>\n\u003cp>In the first released image, Beyoncé stands in a sleek gown, presenting a modern take on Audrey Hepburn’s iconic outfit from the opening scene of \u003cem>Breakfast at Tiffany’s\u003c/em>. Behind her hangs the 1982 Basquiat masterpiece, which has been in a private collection, hidden from the world, for close to 40 years. At her side, Jay-Z reclines in an arm chair, with his locs arranged to mimic Basquiat’s signature hairstyle.\u003c/p>\n\u003cp>And while no one had anything bad to say about Beyoncé…\u003c/p>\n\u003cp>https://twitter.com/BTSOriented/status/1429717656727326726\u003c/p>\n\u003cp>Twitter was upset about a plethora of other things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/yungseafx/status/1429667087572557829\u003c/p>\n\u003cp>The Basquiat cosplaying accusations were rife…\u003c/p>\n\u003cp>https://twitter.com/MsLaFitteTweets/status/1429765208386457602\u003c/p>\n\u003cp>Plus, understandably, art lovers were perturbed that \u003cem>Equals Pi\u003c/em> was being revealed in public for the first time as part of an ad campaign.\u003c/p>\n\u003cp>https://twitter.com/ScBayScJohnson/status/1429677853252202502\u003c/p>\n\u003cp>The fact that the painting was partially obscured did not help matters.\u003c/p>\n\u003cp>https://twitter.com/Demboslice_/status/1429673868046778369\u003c/p>\n\u003cp>Questions were also raised about whether Basquiat would want his work used in such a way.\u003c/p>\n\u003cp>https://twitter.com/notoriouskpg_/status/1429810458672783362\u003c/p>\n\u003cp>And others just questioned whether art, period, should be used to decorate capitalist endeavors.\u003c/p>\n\u003cp>https://twitter.com/spoonspoon_/status/1429680587305103362\u003c/p>\n\u003cp>That’s before anyone even got into the moral questions around important art works staying hidden from the world in private collections.\u003c/p>\n\u003cp>https://twitter.com/__lukec/status/1429676847869034500\u003c/p>\n\u003cp>In the online kerfuffle, three significant aspects of the ad campaign have been largely skipped over. Those being:\u003c/p>\n\u003cp>1. Tiffany & Co’s (undoubtedly gargantuan, but currently unknown) payment to Bey and Jay for the campaign also involves a $2 million donation for scholarship and internship programs at HBCUs.\u003c/p>\n\u003cp>2. Tiffany’s has purchased \u003cem>Equals Pi\u003c/em> and plans to display it in their flagship Fifth Avenue store in New York once it has completed renovations. Which means the world will finally be able to see it, \u003cem>and\u003c/em> in a place that doesn’t charge an entrance fee.\u003c/p>\n\u003cp>3. Beyoncé is the first Black woman to ever wear the 128.54 carat Tiffany Diamond. Only three other women have ever been permitted to wear it: Mary Whitehouse, Audrey Hepburn and Lady Gaga.\u003c/p>\n\u003cp>All of which are, quantifiably, very good things.\u003c/p>\n\u003cp>Would it have been more ideal for people to first see this painting in a way that didn’t involve also trying to sell jewelry? Of course. Should Jay-Z think about getting his own hairdo? Maybe. Does it feel weird to see Basquiat’s work being used in this way? That’s up to you, but given that one of his closest collaborators in life was Andy Warhol—the person most responsible for blending high art with commercialism in the first place—it’s hard to imagine he’d mind very much. Are we all going to be sick to death of this ad campaign in six months’ time? Oh, you betcha. (Beyoncé is even going to sing “Moon River” to Jay-Z at some point, so … that’s happening.)\u003c/p>\n\u003cp>Truthfully, if anything in this whole campaign is ripe for mockery, it’s the completely unfounded assertions that Tiffany & Co. have been making about \u003cem>Equals Pi\u003c/em>‘s turquoise background. “We don’t have any literature that says [Basquiat] made the painting for Tiffany,” executive vice president of products and communications, Alexandre Arnault, told \u003ca href=\"https://wwd.com/accessories-news/jewelry/beyonce-jay-z-tiffany-ad-campaign-1234900967/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WWD\u003c/em>\u003c/a>. “My guess is that the [blue painting] is not by chance. The color is so specific that it has to be some kind of homage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If we could get a collective Twitter eyeroll for \u003cem>that\u003c/em>, that’d be marvelous.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 698,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705007921,
"excerpt": "You can feel icky about a Basquiat painting being revealed in a jewelry ad—but there are positives here too.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "You can feel icky about a Basquiat painting being revealed in a jewelry ad—but there are positives here too.",
"title": "That Beyoncé, Jay-Z and Basquiat Ad for Tiffany's Does Have Some Upsides, You Know | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "That Beyoncé, Jay-Z and Basquiat Ad for Tiffany's Does Have Some Upsides, You Know",
"datePublished": "2021-08-23T13:56:20-07:00",
"dateModified": "2024-01-11T13:18:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "that-beyonce-jay-z-and-basquiat-ad-for-tiffanys-does-have-some-upsides-you-know",
"status": "publish",
"sourceUrl": "https://www.kqed.org/artscommentary",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"path": "/arts/13901650/that-beyonce-jay-z-and-basquiat-ad-for-tiffanys-does-have-some-upsides-you-know",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Online discourse got a little heated on Sunday and Monday over a new Tiffany & Co. ad campaign featuring Beyoncé, Jay-Z and a long-unseen Jean-Michel Basquiat painting titled \u003cem>Equals Pi\u003c/em>. The “About Love” campaign will last an entire year, hit print publications on Sept. 2, and, at some stage, will take over every digital billboard in Times Square.\u003c/p>\n\u003cp>In the first released image, Beyoncé stands in a sleek gown, presenting a modern take on Audrey Hepburn’s iconic outfit from the opening scene of \u003cem>Breakfast at Tiffany’s\u003c/em>. Behind her hangs the 1982 Basquiat masterpiece, which has been in a private collection, hidden from the world, for close to 40 years. At her side, Jay-Z reclines in an arm chair, with his locs arranged to mimic Basquiat’s signature hairstyle.\u003c/p>\n\u003cp>And while no one had anything bad to say about Beyoncé…\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429717656727326726"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twitter was upset about a plethora of other things.\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429667087572557829"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Basquiat cosplaying accusations were rife…\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429765208386457602"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Plus, understandably, art lovers were perturbed that \u003cem>Equals Pi\u003c/em> was being revealed in public for the first time as part of an ad campaign.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429677853252202502"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The fact that the painting was partially obscured did not help matters.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429673868046778369"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Questions were also raised about whether Basquiat would want his work used in such a way.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429810458672783362"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And others just questioned whether art, period, should be used to decorate capitalist endeavors.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429680587305103362"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>That’s before anyone even got into the moral questions around important art works staying hidden from the world in private collections.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1429676847869034500"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the online kerfuffle, three significant aspects of the ad campaign have been largely skipped over. Those being:\u003c/p>\n\u003cp>1. Tiffany & Co’s (undoubtedly gargantuan, but currently unknown) payment to Bey and Jay for the campaign also involves a $2 million donation for scholarship and internship programs at HBCUs.\u003c/p>\n\u003cp>2. Tiffany’s has purchased \u003cem>Equals Pi\u003c/em> and plans to display it in their flagship Fifth Avenue store in New York once it has completed renovations. Which means the world will finally be able to see it, \u003cem>and\u003c/em> in a place that doesn’t charge an entrance fee.\u003c/p>\n\u003cp>3. Beyoncé is the first Black woman to ever wear the 128.54 carat Tiffany Diamond. Only three other women have ever been permitted to wear it: Mary Whitehouse, Audrey Hepburn and Lady Gaga.\u003c/p>\n\u003cp>All of which are, quantifiably, very good things.\u003c/p>\n\u003cp>Would it have been more ideal for people to first see this painting in a way that didn’t involve also trying to sell jewelry? Of course. Should Jay-Z think about getting his own hairdo? Maybe. Does it feel weird to see Basquiat’s work being used in this way? That’s up to you, but given that one of his closest collaborators in life was Andy Warhol—the person most responsible for blending high art with commercialism in the first place—it’s hard to imagine he’d mind very much. Are we all going to be sick to death of this ad campaign in six months’ time? Oh, you betcha. (Beyoncé is even going to sing “Moon River” to Jay-Z at some point, so … that’s happening.)\u003c/p>\n\u003cp>Truthfully, if anything in this whole campaign is ripe for mockery, it’s the completely unfounded assertions that Tiffany & Co. have been making about \u003cem>Equals Pi\u003c/em>‘s turquoise background. “We don’t have any literature that says [Basquiat] made the painting for Tiffany,” executive vice president of products and communications, Alexandre Arnault, told \u003ca href=\"https://wwd.com/accessories-news/jewelry/beyonce-jay-z-tiffany-ad-campaign-1234900967/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WWD\u003c/em>\u003c/a>. “My guess is that the [blue painting] is not by chance. The color is so specific that it has to be some kind of homage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If we could get a collective Twitter eyeroll for \u003cem>that\u003c/em>, that’d be marvelous.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13901650/that-beyonce-jay-z-and-basquiat-ad-for-tiffanys-does-have-some-upsides-you-know",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_76",
"arts_69",
"arts_75"
],
"tags": [
"arts_14452",
"arts_1686",
"arts_2767",
"arts_10278",
"arts_3070",
"arts_15280"
],
"featImg": "arts_13901669",
"label": "source_arts_13901650"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 1284,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2995,
"relation": "eq"
},
"items": [
"arts_13903191",
"arts_13902995",
"arts_13902056",
"arts_13902631",
"arts_13902470",
"arts_13902202",
"arts_13902196",
"arts_13902064",
"arts_13901852",
"arts_13901810",
"arts_13901695",
"arts_13901650"
],
"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_popculture": {
"isLoading": true
},
"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"
},
"source_arts_13902056": {
"type": "terms",
"id": "source_arts_13902056",
"meta": {
"override": true
},
"name": "Commentary",
"link": "https://www.kqed.org/artscommentary",
"isLoading": false
},
"source_arts_13901650": {
"type": "terms",
"id": "source_arts_13901650",
"meta": {
"override": true
},
"name": "Commentary",
"link": "https://www.kqed.org/artscommentary",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_6117": {
"type": "terms",
"id": "arts_6117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drake",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drake Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6129,
"slug": "drake",
"isLoading": false,
"link": "/arts/tag/drake"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_2461": {
"type": "terms",
"id": "arts_2461",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2461",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R. Kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R. Kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2473,
"slug": "r-kelly",
"isLoading": false,
"link": "/arts/tag/r-kelly"
},
"arts_924": {
"type": "terms",
"id": "arts_924",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R&B",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R&B Archives | KQED Arts",
"ogDescription": null
},
"ttid": 942,
"slug": "rb",
"isLoading": false,
"link": "/arts/tag/rb"
},
"arts_6443": {
"type": "terms",
"id": "arts_6443",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6443",
"found": true
},
"relationships": {},
"featImg": null,
"name": "surviving r. kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "surviving r. kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6455,
"slug": "surviving-r-kelly",
"isLoading": false,
"link": "/arts/tag/surviving-r-kelly"
},
"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_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_7164": {
"type": "terms",
"id": "arts_7164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "billie eilish",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "billie eilish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7176,
"slug": "billie-eilish",
"isLoading": false,
"link": "/arts/tag/billie-eilish"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_11966": {
"type": "terms",
"id": "arts_11966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kim Kardashian",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kim Kardashian Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11978,
"slug": "kim-kardashian",
"isLoading": false,
"link": "/arts/tag/kim-kardashian"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_7108": {
"type": "terms",
"id": "arts_7108",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7108",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lil nas x",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lil nas x Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7120,
"slug": "lil-nas-x",
"isLoading": false,
"link": "/arts/tag/lil-nas-x"
},
"arts_22131": {
"type": "terms",
"id": "arts_22131",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22131",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Met Gala",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Met Gala Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22143,
"slug": "met-gala",
"isLoading": false,
"link": "/arts/tag/met-gala"
},
"arts_4291": {
"type": "terms",
"id": "arts_4291",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4291",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rihanna",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rihanna Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4303,
"slug": "rihanna",
"isLoading": false,
"link": "/arts/tag/rihanna"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_10061": {
"type": "terms",
"id": "arts_10061",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10061",
"found": true
},
"relationships": {},
"featImg": null,
"name": "9-11",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "9-11 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10073,
"slug": "9-11",
"isLoading": false,
"link": "/arts/tag/9-11"
},
"arts_14452": {
"type": "terms",
"id": "arts_14452",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14452",
"found": true
},
"relationships": {},
"featImg": null,
"name": "artscommentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "artscommentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14464,
"slug": "artscommentary",
"isLoading": false,
"link": "/arts/tag/artscommentary"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_15169": {
"type": "terms",
"id": "arts_15169",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15169",
"found": true
},
"relationships": {},
"featImg": null,
"name": "September 11",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "September 11 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15181,
"slug": "september-11",
"isLoading": false,
"link": "/arts/tag/september-11"
},
"arts_6463": {
"type": "terms",
"id": "arts_6463",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6463",
"found": true
},
"relationships": {},
"featImg": null,
"name": "spike lee",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "spike lee Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6475,
"slug": "spike-lee",
"isLoading": false,
"link": "/arts/tag/spike-lee"
},
"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_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_12217": {
"type": "terms",
"id": "arts_12217",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12217",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ryan Murphy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ryan Murphy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12229,
"slug": "ryan-murphy",
"isLoading": false,
"link": "/arts/tag/ryan-murphy"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"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_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_2654": {
"type": "terms",
"id": "arts_2654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinatown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinatown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2666,
"slug": "chinatown",
"isLoading": false,
"link": "/arts/tag/chinatown"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_3570": {
"type": "terms",
"id": "arts_3570",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3570",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Marvel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marvel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3582,
"slug": "marvel",
"isLoading": false,
"link": "/arts/tag/marvel"
},
"arts_7718": {
"type": "terms",
"id": "arts_7718",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7718",
"found": true
},
"relationships": {},
"featImg": null,
"name": "muni",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "muni Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7730,
"slug": "muni",
"isLoading": false,
"link": "/arts/tag/muni"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_19533": {
"type": "terms",
"id": "arts_19533",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19533",
"found": true
},
"relationships": {},
"featImg": null,
"name": "transit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "transit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19545,
"slug": "transit",
"isLoading": false,
"link": "/arts/tag/transit"
},
"arts_1084": {
"type": "terms",
"id": "arts_1084",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1084",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Jose",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Jose Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1101,
"slug": "san-jose",
"isLoading": false,
"link": "/arts/tag/san-jose"
},
"arts_3001": {
"type": "terms",
"id": "arts_3001",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3001",
"found": true
},
"relationships": {},
"featImg": null,
"name": "silicon valley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "silicon valley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3013,
"slug": "silicon-valley",
"isLoading": false,
"link": "/arts/tag/silicon-valley"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_11688": {
"type": "terms",
"id": "arts_11688",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11688",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jeopardy!",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jeopardy! Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11700,
"slug": "jeopardy",
"isLoading": false,
"link": "/arts/tag/jeopardy"
},
"arts_7580": {
"type": "terms",
"id": "arts_7580",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7580",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7592,
"slug": "sexism",
"isLoading": false,
"link": "/arts/tag/sexism"
},
"arts_15345": {
"type": "terms",
"id": "arts_15345",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15345",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Wheel of Fortune",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Wheel of Fortune Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15357,
"slug": "wheel-of-fortune",
"isLoading": false,
"link": "/arts/tag/wheel-of-fortune"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"arts_8054": {
"type": "terms",
"id": "arts_8054",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8054",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1990s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1990s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8066,
"slug": "1990s",
"isLoading": false,
"link": "/arts/tag/1990s"
},
"arts_6742": {
"type": "terms",
"id": "arts_6742",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6742",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lawsuit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lawsuit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6754,
"slug": "lawsuit",
"isLoading": false,
"link": "/arts/tag/lawsuit"
},
"arts_1553": {
"type": "terms",
"id": "arts_1553",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1553",
"found": true
},
"relationships": {},
"featImg": null,
"name": "twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1565,
"slug": "twitter",
"isLoading": false,
"link": "/arts/tag/twitter"
},
"arts_13475": {
"type": "terms",
"id": "arts_13475",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13475",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#FreeBritney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#FreeBritney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13487,
"slug": "freebritney",
"isLoading": false,
"link": "/arts/tag/freebritney"
},
"arts_10387": {
"type": "terms",
"id": "arts_10387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Britney Spears",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Britney Spears Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10399,
"slug": "britney-spears",
"isLoading": false,
"link": "/arts/tag/britney-spears"
},
"arts_5050": {
"type": "terms",
"id": "arts_5050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Woody Allen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Woody Allen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5062,
"slug": "woody-allen",
"isLoading": false,
"link": "/arts/tag/woody-allen"
},
"arts_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_3070": {
"type": "terms",
"id": "arts_3070",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3070",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jay Z",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jay Z Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3082,
"slug": "jay-z",
"isLoading": false,
"link": "/arts/tag/jay-z"
},
"arts_15280": {
"type": "terms",
"id": "arts_15280",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15280",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jewelry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jewelry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15292,
"slug": "jewelry",
"isLoading": false,
"link": "/arts/tag/jewelry"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}