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_13867089": {
"type": "attachments",
"id": "arts_13867089",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13867089",
"found": true
},
"parent": 13867088,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/smith-fd775eb2a47a60b118ebb0d68402ec2eab163817-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/smith-fd775eb2a47a60b118ebb0d68402ec2eab163817-570x372.jpg",
"width": 570,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/smith-fd775eb2a47a60b118ebb0d68402ec2eab163817.jpg",
"width": 570,
"height": 427
}
},
"publishDate": 1569382654,
"modified": 1569383002,
"caption": "'Year of the Monkey,' by Patti Smith.",
"description": "'Year of the Monkey,' by Patti Smith.",
"title": "'Year of the Monkey,' by Patti Smith.",
"credit": "Knopf",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866931": {
"type": "attachments",
"id": "arts_13866931",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866931",
"found": true
},
"parent": 13866927,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85.jpg",
"width": 1500,
"height": 843
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-1200x674.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 674
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-525610780_wide-319978e8a3901c87df751f804724eb97fe0ba891-s1500-c85-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1569265850,
"modified": 1569265890,
"caption": "Bruce Springsteen performing in 2012 during a campaign rally for former President Barack Obama in Des Moines, Iowa.",
"description": "Bruce Springsteen performing in 2012 during a campaign rally for former President Barack Obama in Des Moines, Iowa.",
"title": "Bruce Springsteen performing in 2012 during a campaign rally for former President Barack Obama in Des Moines, Iowa.",
"credit": "Brooks Kraft/Corbis via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866906": {
"type": "attachments",
"id": "arts_13866906",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866906",
"found": true
},
"parent": 13866905,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/gettyimages-1176443862_wide-f9249cea192eac5680ac893544dd62aa03a5dc02-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1569219973,
"modified": 1569221420,
"caption": "Phoebe Waller-Bridge won multiple awards for her show 'Fleabag' on Sunday night.",
"description": "Phoebe Waller-Bridge won multiple awards for her show 'Fleabag' on Sunday night.",
"title": "Phoebe Waller-Bridge won multiple awards for her show 'Fleabag' on Sunday night.",
"credit": "Amy Sussman/WireImage",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866513": {
"type": "attachments",
"id": "arts_13866513",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866513",
"found": true
},
"parent": 13866506,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768.jpg",
"width": 1536,
"height": 768
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1568671092,
"modified": 1568706621,
"caption": "Dustin Hoffman and Meryl Streep in 'Kramer vs. Kramer.'",
"description": "Dustin Hoffman and Meryl Streep in 'Kramer vs. Kramer.'",
"title": "Dustin Hoffman and Meryl Streep in 'Kramer vs. Kramer.'",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866686": {
"type": "attachments",
"id": "arts_13866686",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866686",
"found": true
},
"parent": 13866684,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b.jpg",
"width": 2048,
"height": 1024
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1568861462,
"modified": 1568861527,
"caption": "Ralph Lauren has launched a collection in honor of the 25th Anniversary of 'Friends.'",
"description": "Ralph Lauren has launched a collection in honor of the 25th Anniversary of 'Friends.'",
"title": "Ralph Lauren has launched a collection in honor of the 25th Anniversary of 'Friends.'",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866752": {
"type": "attachments",
"id": "arts_13866752",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866752",
"found": true
},
"parent": 13866705,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/Charo-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/Charo-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/Charo.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/Charo-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/Charo-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568919986,
"modified": 1568920031,
"caption": "Guitarist, singer, comedienne and all-around camp idol Charo performs in San Francisco this weekend.",
"description": "Guitarist, singer, comedienne and all-around camp idol Charo performs in San Francisco this weekend.",
"title": "Charo",
"credit": "artist photo",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866655": {
"type": "attachments",
"id": "arts_13866655",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866655",
"found": true
},
"parent": 13866589,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568842128,
"modified": 1568842225,
"caption": "'The Golden Girls' (L-R): Estelle Getty as Sophia, Bea Arthur as Dorothy, Rue McClanahan as Blanche, Betty White as Rose.",
"description": "'The Golden Girls' (L-R): Estelle Getty as Sophia, Bea Arthur as Dorothy, Rue McClanahan as Blanche, Betty White as Rose.",
"title": "'The Golden Girls' (L-R): Estelle Getty as Sophia, Bea Arthur as Dorothy, Rue McClanahan as Blanche, Betty White as Rose.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866693": {
"type": "attachments",
"id": "arts_13866693",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866693",
"found": true
},
"parent": 13866690,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/PeachesChrist.Axe_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/PeachesChrist.Axe_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/PeachesChrist.Axe_.jpg",
"width": 960,
"height": 540
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/PeachesChrist.Axe_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/PeachesChrist.Axe_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568909829,
"modified": 1568909894,
"caption": "Peaches Christ.",
"description": "Peaches Christ.",
"title": "PeachesChrist.Axe",
"credit": "Ash Danielsen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866553": {
"type": "attachments",
"id": "arts_13866553",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866553",
"found": true
},
"parent": 13866256,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568749579,
"modified": 1568749913,
"caption": "Left: A still from Aerosmith and Run-D.M.C.'s \"Walk This Way\" music video. Right: Rico Nasty performs at Coachella 2019.",
"description": "Left: A still from Aerosmith and Run-D.M.C.'s \"Walk This Way\" music video. Right: Rico Nasty performs at Coachella 2019.",
"title": "aerosmith-run-dmc-rico-nasty",
"credit": "Def Jam via YouTube/Right: Rich Fury/Getty Images for Coachella",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866536": {
"type": "attachments",
"id": "arts_13866536",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866536",
"found": true
},
"parent": 13866535,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/mandymoore_wide-6813517fb84da47154666e097f6ddbc19317e624-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/mandymoore_wide-6813517fb84da47154666e097f6ddbc19317e624-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/mandymoore_wide-6813517fb84da47154666e097f6ddbc19317e624.jpg",
"width": 902,
"height": 507
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/mandymoore_wide-6813517fb84da47154666e097f6ddbc19317e624-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/mandymoore_wide-6813517fb84da47154666e097f6ddbc19317e624-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568743181,
"modified": 1568743486,
"caption": "Mandy Moore in the video for \"When I Wasn't Watching.\"",
"description": "Mandy Moore in the video for \"When I Wasn't Watching.\"",
"title": "Mandy Moore in the video for \"When I Wasn't Watching.\"",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866287": {
"type": "attachments",
"id": "arts_13866287",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866287",
"found": true
},
"parent": 13866270,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy.jpg",
"width": 1296,
"height": 730
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-1200x676.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 676
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/desolation_center_copy-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
}
},
"publishDate": 1568317965,
"modified": 1568318226,
"caption": "Anarchy reigning, in 'Desolation Center.'",
"description": "Anarchy reigning, in 'Desolation Center.'",
"title": "Anarchy reigning, in 'Desolation Center.'",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866471": {
"type": "attachments",
"id": "arts_13866471",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866471",
"found": true
},
"parent": 13866470,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/unbelievablekd-391eb28a6a03b98917d5d916a1407d05ddf03c46-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1568660986,
"modified": 1568662687,
"caption": "In 'Unbelievable' Kaitlyn Dever plays a rape victim who recants her story following intimidation by police. The Netflix series is based on a true story.",
"description": "In 'Unbelievable' Kaitlyn Dever plays a rape victim who recants her story following intimidation by police. The Netflix series is based on a true story.",
"title": "In 'Unbelievable' Kaitlyn Dever plays a rape victim who recants her story following intimidation by police. The Netflix series is based on a true story.",
"credit": "Beth Dubber/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13867088": {
"type": "authors",
"id": "byline_arts_13867088",
"meta": {
"override": true
},
"slug": "byline_arts_13867088",
"name": "Gabino Iglesias",
"isLoading": false
},
"byline_arts_13866927": {
"type": "authors",
"id": "byline_arts_13866927",
"meta": {
"override": true
},
"slug": "byline_arts_13866927",
"name": "A.O. Scott",
"isLoading": false
},
"byline_arts_13866905": {
"type": "authors",
"id": "byline_arts_13866905",
"meta": {
"override": true
},
"slug": "byline_arts_13866905",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13866256": {
"type": "authors",
"id": "byline_arts_13866256",
"meta": {
"override": true
},
"slug": "byline_arts_13866256",
"name": "Brooklyn White",
"isLoading": false
},
"byline_arts_13866535": {
"type": "authors",
"id": "byline_arts_13866535",
"meta": {
"override": true
},
"slug": "byline_arts_13866535",
"name": "Lars Gotrich",
"isLoading": false
},
"byline_arts_13866470": {
"type": "authors",
"id": "byline_arts_13866470",
"meta": {
"override": true
},
"slug": "byline_arts_13866470",
"name": "Mary Louise Kelly",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"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": [
"arts"
],
"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": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"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"
},
"jhesig": {
"type": "authors",
"id": "11333",
"meta": {
"index": "authors_1716337520",
"id": "11333",
"found": true
},
"name": "Janelle Hessig",
"firstName": "Janelle",
"lastName": "Hessig",
"slug": "jhesig",
"email": "jhessig@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/27dd6e3cd88f82541593bd6d8f2aec4a?s=600&d=mm&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "food",
"roles": []
},
{
"site": "filmschoolshorts",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Janelle Hessig | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/27dd6e3cd88f82541593bd6d8f2aec4a?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/27dd6e3cd88f82541593bd6d8f2aec4a?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/jhesig"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.403412
},
"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": 136
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 136
}
},
{
"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_13867088": {
"type": "posts",
"id": "arts_13867088",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13867088",
"score": null,
"sort": [
1569415594000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1569415594,
"format": "standard",
"title": "Patti Smith Weaves Between Worlds Real and Imagined in 'Year of the Monkey'",
"headTitle": "Patti Smith Weaves Between Worlds Real and Imagined in ‘Year of the Monkey’ | KQED",
"content": "\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patti+Smith+Weaves+Between+Worlds+Real+And+Imagined+In+%27Year+Of+The+Monkey%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 867,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705022093,
"excerpt": "Smith's musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book reminds us that she is an accomplished novelist, essayist and poet.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Smith's musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book reminds us that she is an accomplished novelist, essayist and poet.",
"title": "Patti Smith Weaves Between Worlds Real and Imagined in 'Year of the Monkey' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Patti Smith Weaves Between Worlds Real and Imagined in 'Year of the Monkey'",
"datePublished": "2019-09-25T05:46:34-07:00",
"dateModified": "2024-01-11T17:14:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "patti-smith-weaves-between-worlds-real-and-imagined-in-year-of-the-monkey",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=763812369&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Gabino Iglesias",
"nprStoryDate": "Tue, 24 Sep 2019 15:24:01 -0400",
"nprLastModifiedDate": "Tue, 24 Sep 2019 15:24:01 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/09/24/763812369/patti-smith-weaves-between-worlds-real-and-imagined-in-year-of-the-monkey?ft=nprml&f=763812369",
"nprImageAgency": "Knopf",
"nprStoryId": "763812369",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 24 Sep 2019 15:24:00 -0400",
"path": "/arts/13867088/patti-smith-weaves-between-worlds-real-and-imagined-in-year-of-the-monkey",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patti+Smith+Weaves+Between+Worlds+Real+And+Imagined+In+%27Year+Of+The+Monkey%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13867088/patti-smith-weaves-between-worlds-real-and-imagined-in-year-of-the-monkey",
"authors": [
"byline_arts_13867088"
],
"categories": [
"arts_73",
"arts_69",
"arts_75"
],
"tags": [
"arts_905"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13867089",
"label": "arts_137"
},
"arts_13866927": {
"type": "posts",
"id": "arts_13866927",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866927",
"score": null,
"sort": [
1569266016000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1569266016,
"format": "standard",
"title": "The Ties That Bind: Bruce Springsteen and the Wide Divide",
"headTitle": "The Ties That Bind: Bruce Springsteen and the Wide Divide | KQED",
"content": "\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aQMqWAiWPMs\u003c/p>\n\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1098,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022107,
"excerpt": "A Springsteen concert \"created a civic space in which two antithetical sentiments could coexist and communicate with each other,\" writes A.O. Scott. The Boss turns 70 years old today.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A Springsteen concert "created a civic space in which two antithetical sentiments could coexist and communicate with each other," writes A.O. Scott. The Boss turns 70 years old today.",
"title": "The Ties That Bind: Bruce Springsteen and the Wide Divide | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Ties That Bind: Bruce Springsteen and the Wide Divide",
"datePublished": "2019-09-23T12:13:36-07:00",
"dateModified": "2024-01-11T17:15:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-ties-that-bind-bruce-springsteen-and-the-wide-divide",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=762803629&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 23 Sep 2019 06:00:19 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 23 Sep 2019 06:00:19 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/09/23/762803629/the-ties-that-bind-bruce-springsteen-and-the-wide-divide?ft=nprml&f=762803629",
"nprStoryId": "762803629",
"nprByline": "A.O. Scott",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 23 Sep 2019 06:00:00 -0400",
"path": "/arts/13866927/the-ties-that-bind-bruce-springsteen-and-the-wide-divide",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\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/aQMqWAiWPMs'\n title='//www.youtube.com/embed/aQMqWAiWPMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \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\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866927/the-ties-that-bind-bruce-springsteen-and-the-wide-divide",
"authors": [
"byline_arts_13866927"
],
"categories": [
"arts_73",
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_3675",
"arts_2767",
"arts_3652",
"arts_905"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13866931",
"label": "arts_137"
},
"arts_13866905": {
"type": "posts",
"id": "arts_13866905",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866905",
"score": null,
"sort": [
1569221521000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1569221521,
"format": "standard",
"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
"headTitle": "‘Fleabag’ and ‘Game Of Thrones’ Win Big at the Emmys | KQED",
"content": "\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnyA-9r2Fro\u003c/p>\n\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dAXJir9knco\u003c/p>\n\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6OXS7uVU0xA\u003c/p>\n\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VpxBswBrQ2w\u003c/p>\n\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UbMUl57nDAQ\u003c/p>\n\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U2qO9UdA6WA\u003c/p>\n\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1959,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 30
},
"modified": 1705022109,
"excerpt": "Phoebe Waller-Bridge's 'Fleabag' and the departing 'Game of Thrones' both came up big Sunday night, as did 'Chernobyl' and 'The Marvelous Mrs. Maisel'.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Phoebe Waller-Bridge's 'Fleabag' and the departing 'Game of Thrones' both came up big Sunday night, as did 'Chernobyl' and 'The Marvelous Mrs. Maisel'.",
"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
"datePublished": "2019-09-22T23:52:01-07:00",
"dateModified": "2024-01-11T17:15:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fleabag-and-game-of-thrones-win-big-at-the-emmys",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=763296754&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 23 Sep 2019 00:25:00 -0400",
"nprLastModifiedDate": "Mon, 23 Sep 2019 00:42:08 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/09/23/763296754/fleabag-and-game-of-thrones-win-big-at-the-emmys?ft=nprml&f=763296754",
"nprImageAgency": "WireImage",
"nprStoryId": "763296754",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "Amy Sussman",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 23 Sep 2019 00:42:00 -0400",
"path": "/arts/13866905/fleabag-and-game-of-thrones-win-big-at-the-emmys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\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/hnyA-9r2Fro'\n title='//www.youtube.com/embed/hnyA-9r2Fro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\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>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\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/dAXJir9knco'\n title='//www.youtube.com/embed/dAXJir9knco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\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/6OXS7uVU0xA'\n title='//www.youtube.com/embed/6OXS7uVU0xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\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/VpxBswBrQ2w'\n title='//www.youtube.com/embed/VpxBswBrQ2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\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/UbMUl57nDAQ'\n title='//www.youtube.com/embed/UbMUl57nDAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\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/U2qO9UdA6WA'\n title='//www.youtube.com/embed/U2qO9UdA6WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\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>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866905/fleabag-and-game-of-thrones-win-big-at-the-emmys",
"authors": [
"byline_arts_13866905"
],
"categories": [
"arts_235",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_8417"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13866906",
"label": "arts_137"
},
"arts_13866506": {
"type": "posts",
"id": "arts_13866506",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866506",
"score": null,
"sort": [
1569000617000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1569000617,
"format": "standard",
"title": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman",
"headTitle": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman | KQED",
"content": "\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84DpXtxtyNg\u003c/p>\n\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-vuyZrZxn9Y\u003c/p>\n\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1100,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705022113,
"excerpt": "'Queen Meryl,' in part, details Hoffman's abhorrent behavior before and during the filming of 'Kramer vs. Kramer.' ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Queen Meryl,' in part, details Hoffman's abhorrent behavior before and during the filming of 'Kramer vs. Kramer.' ",
"title": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman",
"datePublished": "2019-09-20T10:30:17-07:00",
"dateModified": "2024-01-11T17:15:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-new-book-about-meryl-streep-will-remind-you-to-despise-dustin-hoffman",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"articleAge": "0",
"path": "/arts/13866506/a-new-book-about-meryl-streep-will-remind-you-to-despise-dustin-hoffman",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\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 book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\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/84DpXtxtyNg'\n title='//www.youtube.com/embed/84DpXtxtyNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\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/-vuyZrZxn9Y'\n title='//www.youtube.com/embed/-vuyZrZxn9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866506/a-new-book-about-meryl-streep-will-remind-you-to-despise-dustin-hoffman",
"authors": [
"11242"
],
"categories": [
"arts_73",
"arts_2303",
"arts_74",
"arts_75"
],
"tags": [
"arts_2798",
"arts_2767",
"arts_1118",
"arts_977",
"arts_4959",
"arts_4778"
],
"featImg": "arts_13866513",
"label": "source_arts_13866506"
},
"arts_13866684": {
"type": "posts",
"id": "arts_13866684",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866684",
"score": null,
"sort": [
1568934170000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568934170,
"format": "standard",
"title": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends'",
"headTitle": "Ralph Lauren’s ‘Friends’ Collection Looks Like Nothing Anyone Wore on ‘Friends’ | KQED",
"content": "\u003cp>You might recall that Ralph Lauren product placement went into total overdrive in the fifth season of \u003cem>Friends\u003c/em>, after Rachel Green started working for the fashion house. There was even an episode where Phoebe got duped into making out with “Kenny, the copy guy” because she thought he was Ralph Lauren. (Lauren himself made \u003ca href=\"https://www.youtube.com/watch?v=j6pOe8B5LJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a cameo\u003c/a>.)\u003c/p>\n\u003cp>The designer label, very shrewdly, is now looking to capitalize on this history, by launching \u003ca href=\"https://www.ralphlauren.com/friends-cg?sz=30&start=0\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> said to be inspired by \u003cem>Friends\u003c/em>‘ 25th anniversary. There’s only one problem: with the exception of a handful of items, none of these clothes look like anything someone in \u003cem>Friends\u003c/em> might have actually worn.\u003c/p>\n\u003cp>Sure, these pleated skirts have definite Rachel vibes:\u003c/p>\n\u003cfigure id=\"attachment_13866748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a token sweater vest for Chandler:\u003c/p>\n\u003cfigure id=\"attachment_13866719\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And \u003ca href=\"https://www.youtube.com/watch?v=WmwAjt-dz1g\" target=\"_blank\" rel=\"noopener noreferrer\">Ross’ leather pants\u003c/a> (which appeared in exactly one episode) have clearly served as a major inspiration:\u003c/p>\n\u003cfigure id=\"attachment_13866747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>But most of the other items in this collection are genuinely baffling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who, for example, ever, in ten years of \u003cem>Friends\u003c/em> wore anything approximating a pussy-bow blouse? No one! But, sure, go ahead, Ralph Lauren. Give us three:\u003c/p>\n\u003cfigure id=\"attachment_13866727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel did have her fair share of blazers, but red and purple? Not even Gunther pulled this nonsense:\u003c/p>\n\u003cfigure id=\"attachment_13866754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And who are these frumpy dresses for? Because it’s not Monica, Rachel, Phoebe \u003cem>or\u003c/em> Janice:\u003c/p>\n\u003cfigure id=\"attachment_13866729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Just when you think it can’t get any worse, we reach menswear, which, if it’s possible, makes even less sense.\u003c/p>\n\u003cp>I don’t recall anyone in \u003cem>Friends\u003c/em> working on Wall Street, or going to a young Republicans convention, but still this somehow made it to the collection:\u003c/p>\n\u003cfigure id=\"attachment_13866741\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>As did these, which might have been inspired by the stuffy old professors Ross worked with, but still seem like an odd choice:\u003c/p>\n\u003cfigure id=\"attachment_13866763\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>The less said about this weird teddy bear sweater, the better:\u003c/p>\n\u003cfigure id=\"attachment_13866730\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, and worst of all: WHO THE HELL IS THE INSPIRATION FOR THESE HIDEOUS MOUNTAIN CLIMBER PANTS?!\u003c/p>\n\u003cfigure id=\"attachment_13866732\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>I am aware that the Ralph Lauren \u003cem>Friends\u003c/em> collection is a very silly thing to be annoyed about right now, but it is particularly frustrating to me, since last year I wrote an article titled “\u003ca href=\"https://www.kqed.org/pop/105499/all-the-friends-outfits-we-should-bring-back\" target=\"_blank\" rel=\"noopener noreferrer\">All the Friends Outfits We Should Bring Back.\u003c/a>” It included Monica and Rachel’s “Girls” shirts, Phoebe’s Santa pants and a variety of other things Ralph Lauren didn’t want to give me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’d have settled for Joey’s man-bag, Ralph. I’d have settled for Joey’s man-bag.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 447,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705022117,
"excerpt": "Ralph Lauren's 'Friends' collection has a handful of items that nod to the show—and a whole bunch of crap that doesn't.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ralph Lauren's 'Friends' collection has a handful of items that nod to the show—and a whole bunch of crap that doesn't.",
"title": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends'",
"datePublished": "2019-09-19T16:02:50-07:00",
"dateModified": "2024-01-11T17:15:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ralph-laurens-friends-collection-looks-like-nothing-anyone-wore-on-friends",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13866684/ralph-laurens-friends-collection-looks-like-nothing-anyone-wore-on-friends",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might recall that Ralph Lauren product placement went into total overdrive in the fifth season of \u003cem>Friends\u003c/em>, after Rachel Green started working for the fashion house. There was even an episode where Phoebe got duped into making out with “Kenny, the copy guy” because she thought he was Ralph Lauren. (Lauren himself made \u003ca href=\"https://www.youtube.com/watch?v=j6pOe8B5LJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a cameo\u003c/a>.)\u003c/p>\n\u003cp>The designer label, very shrewdly, is now looking to capitalize on this history, by launching \u003ca href=\"https://www.ralphlauren.com/friends-cg?sz=30&start=0\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> said to be inspired by \u003cem>Friends\u003c/em>‘ 25th anniversary. There’s only one problem: with the exception of a handful of items, none of these clothes look like anything someone in \u003cem>Friends\u003c/em> might have actually worn.\u003c/p>\n\u003cp>Sure, these pleated skirts have definite Rachel vibes:\u003c/p>\n\u003cfigure id=\"attachment_13866748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a token sweater vest for Chandler:\u003c/p>\n\u003cfigure id=\"attachment_13866719\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And \u003ca href=\"https://www.youtube.com/watch?v=WmwAjt-dz1g\" target=\"_blank\" rel=\"noopener noreferrer\">Ross’ leather pants\u003c/a> (which appeared in exactly one episode) have clearly served as a major inspiration:\u003c/p>\n\u003cfigure id=\"attachment_13866747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>But most of the other items in this collection are genuinely baffling.\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>Who, for example, ever, in ten years of \u003cem>Friends\u003c/em> wore anything approximating a pussy-bow blouse? No one! But, sure, go ahead, Ralph Lauren. Give us three:\u003c/p>\n\u003cfigure id=\"attachment_13866727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel did have her fair share of blazers, but red and purple? Not even Gunther pulled this nonsense:\u003c/p>\n\u003cfigure id=\"attachment_13866754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And who are these frumpy dresses for? Because it’s not Monica, Rachel, Phoebe \u003cem>or\u003c/em> Janice:\u003c/p>\n\u003cfigure id=\"attachment_13866729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Just when you think it can’t get any worse, we reach menswear, which, if it’s possible, makes even less sense.\u003c/p>\n\u003cp>I don’t recall anyone in \u003cem>Friends\u003c/em> working on Wall Street, or going to a young Republicans convention, but still this somehow made it to the collection:\u003c/p>\n\u003cfigure id=\"attachment_13866741\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>As did these, which might have been inspired by the stuffy old professors Ross worked with, but still seem like an odd choice:\u003c/p>\n\u003cfigure id=\"attachment_13866763\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>The less said about this weird teddy bear sweater, the better:\u003c/p>\n\u003cfigure id=\"attachment_13866730\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, and worst of all: WHO THE HELL IS THE INSPIRATION FOR THESE HIDEOUS MOUNTAIN CLIMBER PANTS?!\u003c/p>\n\u003cfigure id=\"attachment_13866732\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>I am aware that the Ralph Lauren \u003cem>Friends\u003c/em> collection is a very silly thing to be annoyed about right now, but it is particularly frustrating to me, since last year I wrote an article titled “\u003ca href=\"https://www.kqed.org/pop/105499/all-the-friends-outfits-we-should-bring-back\" target=\"_blank\" rel=\"noopener noreferrer\">All the Friends Outfits We Should Bring Back.\u003c/a>” It included Monica and Rachel’s “Girls” shirts, Phoebe’s Santa pants and a variety of other things Ralph Lauren didn’t want to give me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’d have settled for Joey’s man-bag, Ralph. I’d have settled for Joey’s man-bag.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866684/ralph-laurens-friends-collection-looks-like-nothing-anyone-wore-on-friends",
"authors": [
"11242"
],
"categories": [
"arts_2303",
"arts_76",
"arts_75",
"arts_990"
],
"tags": [
"arts_2767",
"arts_1696",
"arts_5422"
],
"featImg": "arts_13866686",
"label": "arts"
},
"arts_13866705": {
"type": "posts",
"id": "arts_13866705",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866705",
"score": null,
"sort": [
1568920946000
]
},
"guestAuthors": [],
"slug": "the-do-list-listen-to-our-event-picks-for-sept-19-25",
"title": "The Do List: Listen to Our Event Picks for Sept. 19–25",
"publishDate": 1568920946,
"format": "audio",
"headTitle": "The Do List: Listen to Our Event Picks for Sept. 19–25 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726766185,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 598
},
"headData": {
"title": "The Do List: Listen to Our Event Picks for Sept. 19–25 | KQED",
"description": "The weekend is almost here. Hooray! Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below. Charo: Ms. "Cuchi Cuchi" herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Do List: Listen to Our Event Picks for Sept. 19–25",
"datePublished": "2019-09-19T12:22:26-07:00",
"dateModified": "2024-09-19T10:16:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://ww2.kqed.org/podcasts/wp-content/uploads/sites/77/2019/09/307280_TheDoListforThursdaySept19-SundaySept22mix2.mp3",
"sticky": false,
"audioTrackLength": 289,
"templateType": "standard",
"featuredImageType": "standard",
"startTime": 1568876400,
"endTime": 1569481200,
"path": "/arts/13866705/the-do-list-listen-to-our-event-picks-for-sept-19-25",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866705/the-do-list-listen-to-our-event-picks-for-sept-19-25",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_968",
"arts_966",
"arts_69",
"arts_75",
"arts_967"
],
"tags": [
"arts_7534",
"arts_879",
"arts_2763",
"arts_1985",
"arts_1334"
],
"featImg": "arts_13866752",
"label": "arts_140"
},
"arts_13866589": {
"type": "posts",
"id": "arts_13866589",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866589",
"score": null,
"sort": [
1568912315000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568912315,
"format": "standard",
"title": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot",
"headTitle": "Why We Need Jane Lynch and Cyndi Lauper’s ‘Golden Girls’ Reboot | KQED",
"content": "\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x97DorT1Fcs\u003c/p>\n\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\n\u003cp>https://twitter.com/JeremywithaZ/status/1173947100087930880\u003c/p>\n\u003cp>https://twitter.com/Road2Oscars/status/1173414374247002112\u003c/p>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJS54oxSebs\u003c/p>\n\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\n\u003cp>https://www.instagram.com/p/B2UN1fvA4yV/\u003c/p>\n\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 948,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705022126,
"excerpt": "Jane Lynch and Cyndi Lauper are collaborating on \"kind of a 'Golden Girls' for today\"—and it's long overdue.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Jane Lynch and Cyndi Lauper are collaborating on "kind of a 'Golden Girls' for today"—and it's long overdue.",
"title": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot",
"datePublished": "2019-09-19T09:58:35-07:00",
"dateModified": "2024-01-11T17:15:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13866589/why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\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/x97DorT1Fcs'\n title='//www.youtube.com/embed/x97DorT1Fcs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\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>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1173947100087930880"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1173414374247002112"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\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/jJS54oxSebs'\n title='//www.youtube.com/embed/jJS54oxSebs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B2UN1fvA4yV/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866589/why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot",
"authors": [
"11242"
],
"categories": [
"arts_2303",
"arts_75",
"arts_990"
],
"tags": [
"arts_2767",
"arts_8665"
],
"featImg": "arts_13866655",
"label": "arts"
},
"arts_13866690": {
"type": "posts",
"id": "arts_13866690",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866690",
"score": null,
"sort": [
1568910163000
]
},
"guestAuthors": [],
"slug": "is-there-anything-more-queer-than-classic-horror",
"title": "Is There Anything More Queer Than Classic Horror?",
"publishDate": 1568910163,
"format": "standard",
"headTitle": "Is There Anything More Queer Than Classic Horror? | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The new anthology 'Theater of Terror: Revenge of the Queers' is celebrated in the Castro.",
"status": "publish",
"parent": 0,
"modified": 1726766205,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 287
},
"headData": {
"title": "Is There Anything More Queer Than Classic Horror? | KQED",
"description": "The new anthology 'Theater of Terror: Revenge of the Queers' is celebrated in the Castro.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Is There Anything More Queer Than Classic Horror?",
"datePublished": "2019-09-19T09:22:43-07:00",
"dateModified": "2024-09-19T10:16:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "event",
"featuredImageType": "standard",
"startTime": 1569394800,
"endTime": 1569481200,
"startTimeString": "Sept. 25",
"venueName": "The Strut",
"venueAddress": "470 Castro St., San Francisco",
"eventLink": "https://www.facebook.com/events/strut/theater-of-terror-revenge-of-the-queers-launch-party/223105691959182/",
"path": "/arts/13866690/is-there-anything-more-queer-than-classic-horror",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\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>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866690/is-there-anything-more-queer-than-classic-horror",
"authors": [
"11333"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_75",
"arts_967"
],
"tags": [
"arts_3547",
"arts_6476",
"arts_1942",
"arts_5087",
"arts_3226"
],
"featImg": "arts_13866693",
"label": "arts_140"
},
"arts_13866256": {
"type": "posts",
"id": "arts_13866256",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866256",
"score": null,
"sort": [
1568757648000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568757648,
"format": "standard",
"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music",
"headTitle": "From ‘Walk This Way’ to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/4B_UYYPb-Gk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. [aside postid='arts_13866441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/kdQN-B8aodw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/yNPECkESPbU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. [aside postid='arts_13854359']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/91QQqfr1qzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1232,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022134,
"excerpt": "Rappers once leaned on rock stars to reach the mainstream. Now that rap is America's biggest-selling genre, the tables have turned. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Rappers once leaned on rock stars to reach the mainstream. Now that rap is America's biggest-selling genre, the tables have turned. ",
"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music",
"datePublished": "2019-09-17T15:00:48-07:00",
"dateModified": "2024-01-11T17:15:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "from-walk-this-way-to-rico-nasty-rap-rock-collaborations-reveal-power-shifts-in-music",
"status": "publish",
"templateType": "standard",
"nprByline": "Brooklyn White",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13866256/from-walk-this-way-to-rico-nasty-rap-rock-collaborations-reveal-power-shifts-in-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\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/4B_UYYPb-Gk'\n title='//www.youtube.com/embed/4B_UYYPb-Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866441",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\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/kdQN-B8aodw'\n title='//www.youtube.com/embed/kdQN-B8aodw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\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/yNPECkESPbU'\n title='//www.youtube.com/embed/yNPECkESPbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854359",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\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/91QQqfr1qzE'\n title='//www.youtube.com/embed/91QQqfr1qzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866256/from-walk-this-way-to-rico-nasty-rap-rock-collaborations-reveal-power-shifts-in-music",
"authors": [
"byline_arts_13866256"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_5665",
"arts_2767",
"arts_1118",
"arts_831",
"arts_974"
],
"featImg": "arts_13866553",
"label": "arts"
},
"arts_13866535": {
"type": "posts",
"id": "arts_13866535",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866535",
"score": null,
"sort": [
1568743693000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1568743693,
"format": "standard",
"title": "Mandy Moore Releases First Original Song in 10 Years, 'When I Wasn't Watching'",
"headTitle": "Mandy Moore Releases First Original Song in 10 Years, ‘When I Wasn’t Watching’ | KQED",
"content": "\u003cp>There was a time, around the turn of the century, when Mandy Moore the pop singer and Mandy Moore the actor existed simultaneously, touring with \u003ca href=\"https://www.npr.org/artists/120239634/-nsync\">*NSYNC\u003c/a> and starring alongside Anne Hathaway in \u003cem>The Princess Diaries\u003c/em>. But as she outgrew both bubblegum pop and bubblegum roles, so to speak, her simultaneous careers became richer, her talent deeper. Moore’s albums, especially, showcased a sophisticated singer-turned-songwriter invested in pop music’s history, for which she never really got much credit.\u003c/p>\n\u003cp>Moore is now the star of the NBC family drama \u003cem>This Is Us \u003c/em>(she \u003ca href=\"https://www.youtube.com/watch?v=nQknS1AVyAo\">covered\u003c/a> a Linda Ronstadt song for that show’s soundtrack, too) and the voice of Rapunzel on Disney’s \u003cem>Tangled: The Series,\u003c/em> but it’s been a decade since she released the album \u003cem>Amanda Leigh\u003c/em>.\u003c/p>\n\u003cp>“When I Wasn’t Watching” was co-written with longtime collaborator Mike Viola, \u003ca href=\"https://www.npr.org/artists/113932444/dawes\">Dawes\u003c/a> frontman (and husband) Taylor Goldsmith and Jason Boesel, the former drummer of \u003ca href=\"https://www.npr.org/artists/14984051/rilo-kiley\">Rilo Kiley\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, and \u003ca href=\"https://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>‘s Mystic Valley Band. The song sways with a \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a> energy—fringe and ruffles all the way down—as Moore reflects, with a resilient Nicks-ian bittersweetness, on who she became while not paying attention to herself: “My favorite version of me disappeared/ Through longer days and shorter years / So where was I when this was going down?/ Assumed the world would come around.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=143&v=e5yM8lHoOAk\u003c/p>\n\u003cp>Moore’s new album will be released sometime in 2020, via Verve Forecast.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mandy+Moore+Releases+First+Original+Song+In+10+Years%2C+%27When+I+Wasn%27t+Watching%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 274,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705022137,
"excerpt": "\"The idea of diving back into music after so much time and personal change was really intimidating to me for a while,\" says Moore of creating her new album, which she began working on early this year.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""The idea of diving back into music after so much time and personal change was really intimidating to me for a while," says Moore of creating her new album, which she began working on early this year.",
"title": "Mandy Moore Releases First Original Song in 10 Years, 'When I Wasn't Watching' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mandy Moore Releases First Original Song in 10 Years, 'When I Wasn't Watching'",
"datePublished": "2019-09-17T11:08:13-07:00",
"dateModified": "2024-01-11T17:15:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mandy-moore-releases-first-original-song-in-10-years-when-i-wasnt-watching",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=761530982&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Lars Gotrich",
"nprStoryDate": "Tue, 17 Sep 2019 11:21:46 -0400",
"nprLastModifiedDate": "Tue, 17 Sep 2019 11:21:46 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/09/17/761530982/mandy-moore-releases-first-single-in-10-years-when-i-wasn-t-watching?ft=nprml&f=761530982",
"nprImageAgency": "YouTube",
"nprStoryId": "761530982",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 17 Sep 2019 11:21:00 -0400",
"path": "/arts/13866535/mandy-moore-releases-first-original-song-in-10-years-when-i-wasnt-watching",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was a time, around the turn of the century, when Mandy Moore the pop singer and Mandy Moore the actor existed simultaneously, touring with \u003ca href=\"https://www.npr.org/artists/120239634/-nsync\">*NSYNC\u003c/a> and starring alongside Anne Hathaway in \u003cem>The Princess Diaries\u003c/em>. But as she outgrew both bubblegum pop and bubblegum roles, so to speak, her simultaneous careers became richer, her talent deeper. Moore’s albums, especially, showcased a sophisticated singer-turned-songwriter invested in pop music’s history, for which she never really got much credit.\u003c/p>\n\u003cp>Moore is now the star of the NBC family drama \u003cem>This Is Us \u003c/em>(she \u003ca href=\"https://www.youtube.com/watch?v=nQknS1AVyAo\">covered\u003c/a> a Linda Ronstadt song for that show’s soundtrack, too) and the voice of Rapunzel on Disney’s \u003cem>Tangled: The Series,\u003c/em> but it’s been a decade since she released the album \u003cem>Amanda Leigh\u003c/em>.\u003c/p>\n\u003cp>“When I Wasn’t Watching” was co-written with longtime collaborator Mike Viola, \u003ca href=\"https://www.npr.org/artists/113932444/dawes\">Dawes\u003c/a> frontman (and husband) Taylor Goldsmith and Jason Boesel, the former drummer of \u003ca href=\"https://www.npr.org/artists/14984051/rilo-kiley\">Rilo Kiley\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, and \u003ca href=\"https://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>‘s Mystic Valley Band. The song sways with a \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a> energy—fringe and ruffles all the way down—as Moore reflects, with a resilient Nicks-ian bittersweetness, on who she became while not paying attention to herself: “My favorite version of me disappeared/ Through longer days and shorter years / So where was I when this was going down?/ Assumed the world would come around.”\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/e5yM8lHoOAk'\n title='//www.youtube.com/embed/e5yM8lHoOAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moore’s new album will be released sometime in 2020, via Verve Forecast.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mandy+Moore+Releases+First+Original+Song+In+10+Years%2C+%27When+I+Wasn%27t+Watching%27&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/13866535/mandy-moore-releases-first-original-song-in-10-years-when-i-wasnt-watching",
"authors": [
"byline_arts_13866535"
],
"categories": [
"arts_69",
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13866536",
"label": "arts_137"
},
"arts_13866270": {
"type": "posts",
"id": "arts_13866270",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866270",
"score": null,
"sort": [
1568667698000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1568667698,
"format": "standard",
"title": "'Desolation Center' Explores Burning Man and Coachella's Punk Precursor",
"headTitle": "‘Desolation Center’ Explores Burning Man and Coachella’s Punk Precursor | KQED",
"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>These days, as far as American music festivals go, you won’t find two more divisive than Coachella and Burning Man. These annual, much-anticipated events are, depending on your perspective, either essential and transformative or insufferably pretentious. Either way, they’ve both seeped into California culture so much that at this point, you’d be hard-pushed to find someone here who doesn’t have an opinion on both.\u003c/p>\n\u003cp>What most people don’t know is that a scrappy 1980s guerrilla music event called \u003ca href=\"https://www.desolationcenter.com/\" target=\"_blank\" rel=\"noopener\">Desolation Center \u003c/a>paved the way for these two behemoths. Prompted by the (now-infamous) overzealous policing of punk rock events in Los Angeles, bands simply trekked out to the desert and played there to avoid unwanted scrutiny. Faithful fans and scene kids followed.\u003c/p>\n\u003cp>Now Stuart Swezey, the man principally responsible for creating and organizing those underground, anarchic events, has directed, produced and written a documentary about them, featuring musicians from bands like Sonic Youth, Minutemen, Meat Puppets, Redd Kross and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1N_3THskMM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desolation Center\u003c/em> will open at San Francisco’s \u003ca href=\"https://www.roxie.com/ai1ec_event/desolation-center/?instance_id=36303\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> and Berkeley’s \u003ca href=\"https://www.rialtocinemas.com/index.php?location=elmwood&film=2019_desolation\" target=\"_blank\" rel=\"noopener\">Realto Cinemas\u003c/a> on Friday, Sept. 20, playing for seven nights at both. The Sept. 20 screening at the Roxie will also include an after-show discussion moderated by LA journalist \u003ca href=\"https://twitter.com/jbienkahn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Joseph Bien-Kahn\u003c/a>, featuring Swezy, Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener\">John Law\u003c/a>, Bay Area poet \u003ca href=\"https://www.nomadicpress.org/mawsheinwin\" target=\"_blank\" rel=\"noopener\">Maw Shein Win\u003c/a> and performance artist \u003ca href=\"https://en.wikipedia.org/wiki/Mark_Pauline\" target=\"_blank\" rel=\"noopener\">Mark Pauline\u003c/a>. V. Vale, of\u003ca href=\"https://en.wikipedia.org/wiki/V._Vale\" target=\"_blank\" rel=\"noopener\"> RE/Search Publications\u003c/a> will also appear after the screening on Thursday, Sept. 26.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 270,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705022142,
"excerpt": "The documentary about the '80s underground festival screens in Berkeley and San Francisco.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The documentary about the '80s underground festival screens in Berkeley and San Francisco.",
"title": "'Desolation Center' Explores Burning Man and Coachella's Punk Precursor | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Desolation Center' Explores Burning Man and Coachella's Punk Precursor",
"datePublished": "2019-09-16T14:01:38-07:00",
"dateModified": "2024-01-11T17:15:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "desolation-center-explores-burning-man-and-coachellas-punk-precursor",
"status": "publish",
"templateType": "event",
"venueName": "Various Theaters",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1568962800,
"endTime": 1569565800,
"startTimeString": "Sept. 20-26",
"venueAddress": "San Francisco and Berkeley",
"eventLink": "https://www.desolationcenter.com/screenings",
"path": "/arts/13866270/desolation-center-explores-burning-man-and-coachellas-punk-precursor",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>These days, as far as American music festivals go, you won’t find two more divisive than Coachella and Burning Man. These annual, much-anticipated events are, depending on your perspective, either essential and transformative or insufferably pretentious. Either way, they’ve both seeped into California culture so much that at this point, you’d be hard-pushed to find someone here who doesn’t have an opinion on both.\u003c/p>\n\u003cp>What most people don’t know is that a scrappy 1980s guerrilla music event called \u003ca href=\"https://www.desolationcenter.com/\" target=\"_blank\" rel=\"noopener\">Desolation Center \u003c/a>paved the way for these two behemoths. Prompted by the (now-infamous) overzealous policing of punk rock events in Los Angeles, bands simply trekked out to the desert and played there to avoid unwanted scrutiny. Faithful fans and scene kids followed.\u003c/p>\n\u003cp>Now Stuart Swezey, the man principally responsible for creating and organizing those underground, anarchic events, has directed, produced and written a documentary about them, featuring musicians from bands like Sonic Youth, Minutemen, Meat Puppets, Redd Kross and more.\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/C1N_3THskMM'\n title='//www.youtube.com/embed/C1N_3THskMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desolation Center\u003c/em> will open at San Francisco’s \u003ca href=\"https://www.roxie.com/ai1ec_event/desolation-center/?instance_id=36303\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> and Berkeley’s \u003ca href=\"https://www.rialtocinemas.com/index.php?location=elmwood&film=2019_desolation\" target=\"_blank\" rel=\"noopener\">Realto Cinemas\u003c/a> on Friday, Sept. 20, playing for seven nights at both. The Sept. 20 screening at the Roxie will also include an after-show discussion moderated by LA journalist \u003ca href=\"https://twitter.com/jbienkahn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Joseph Bien-Kahn\u003c/a>, featuring Swezy, Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener\">John Law\u003c/a>, Bay Area poet \u003ca href=\"https://www.nomadicpress.org/mawsheinwin\" target=\"_blank\" rel=\"noopener\">Maw Shein Win\u003c/a> and performance artist \u003ca href=\"https://en.wikipedia.org/wiki/Mark_Pauline\" target=\"_blank\" rel=\"noopener\">Mark Pauline\u003c/a>. V. Vale, of\u003ca href=\"https://en.wikipedia.org/wiki/V._Vale\" target=\"_blank\" rel=\"noopener\"> RE/Search Publications\u003c/a> will also appear after the screening on Thursday, Sept. 26.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866270/desolation-center-explores-burning-man-and-coachellas-punk-precursor",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_13672",
"arts_4681"
],
"featImg": "arts_13866287",
"label": "arts_140"
},
"arts_13866470": {
"type": "posts",
"id": "arts_13866470",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866470",
"score": null,
"sort": [
1568663160000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1568663160,
"format": "standard",
"title": "Kaitlyn Dever on 'Unbelievable,' 'Booksmart' and Telling Girls' Stories",
"headTitle": "Kaitlyn Dever on ‘Unbelievable,’ ‘Booksmart’ and Telling Girls’ Stories | KQED",
"content": "\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QTIkUzkbzQk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 831,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705022147,
"excerpt": "The actress was last seen starring in the high school comedy 'Booksmart'. But her newest character, on a new Netflix series, is a woman who recants being raped. It's based on a true story.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The actress was last seen starring in the high school comedy 'Booksmart'. But her newest character, on a new Netflix series, is a woman who recants being raped. It's based on a true story.",
"title": "Kaitlyn Dever on 'Unbelievable,' 'Booksmart' and Telling Girls' Stories | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kaitlyn Dever on 'Unbelievable,' 'Booksmart' and Telling Girls' Stories",
"datePublished": "2019-09-16T12:46:00-07:00",
"dateModified": "2024-01-11T17:15:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kaitlyn-dever-on-unbelievable-booksmart-and-telling-girls-stories",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=760220278&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 12 Sep 2019 16:24:00 -0400",
"nprLastModifiedDate": "Fri, 13 Sep 2019 09:13:49 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/09/12/760220278/maries-rape-was-deemed-unbelievable-kaitlyn-dever-portrays-her-story?ft=nprml&f=760220278",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/09/20190912_atc_maries_rape_was_deemed_unbelievable_kaitlyn_dever_portrays_her_story.mp3?orgId=1&topicId=1138&d=480&p=2&story=760220278&ft=nprml&f=760220278",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1760264513-a1ab60.m3u?orgId=1&topicId=1138&d=480&p=2&story=760220278&ft=nprml&f=760220278",
"nprStoryId": "760220278",
"nprByline": "Mary Louise Kelly",
"sticky": false,
"audioTrackLength": 481,
"nprImageCredit": "Beth Dubber",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 13 Sep 2019 11:17:00 -0400",
"path": "/arts/13866470/kaitlyn-dever-on-unbelievable-booksmart-and-telling-girls-stories",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/09/20190912_atc_maries_rape_was_deemed_unbelievable_kaitlyn_dever_portrays_her_story.mp3?orgId=1&topicId=1138&d=480&p=2&story=760220278&ft=nprml&f=760220278",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\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/QTIkUzkbzQk'\n title='//www.youtube.com/embed/QTIkUzkbzQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866470/kaitlyn-dever-on-unbelievable-booksmart-and-telling-girls-stories",
"authors": [
"byline_arts_13866470"
],
"categories": [
"arts_75",
"arts_990"
],
"tags": [
"arts_928",
"arts_3324"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13866471",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 1620,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2976,
"relation": "eq"
},
"items": [
"arts_13867088",
"arts_13866927",
"arts_13866905",
"arts_13866506",
"arts_13866684",
"arts_13866705",
"arts_13866589",
"arts_13866690",
"arts_13866256",
"arts_13866535",
"arts_13866270",
"arts_13866470"
],
"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_13866506": {
"type": "terms",
"id": "source_arts_13866506",
"meta": {
"override": true
},
"name": "Commentary",
"isLoading": false
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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_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_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_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_3675": {
"type": "terms",
"id": "arts_3675",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3675",
"found": true
},
"relationships": {},
"featImg": null,
"name": "barack obama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "barack obama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3687,
"slug": "barack-obama",
"isLoading": false,
"link": "/arts/tag/barack-obama"
},
"arts_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_3652": {
"type": "terms",
"id": "arts_3652",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3652",
"found": true
},
"relationships": {},
"featImg": null,
"name": "racism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "racism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3664,
"slug": "racism",
"isLoading": false,
"link": "/arts/tag/racism"
},
"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_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_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_8417": {
"type": "terms",
"id": "arts_8417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8429,
"slug": "awards-shows",
"isLoading": false,
"link": "/arts/tag/awards-shows"
},
"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_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_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_4959": {
"type": "terms",
"id": "arts_4959",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4959",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual abuse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual abuse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4971,
"slug": "sexual-abuse",
"isLoading": false,
"link": "/arts/tag/sexual-abuse"
},
"arts_4778": {
"type": "terms",
"id": "arts_4778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4778",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual harrassment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual harrassment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4790,
"slug": "sexual-harrassment",
"isLoading": false,
"link": "/arts/tag/sexual-harrassment"
},
"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_1696": {
"type": "terms",
"id": "arts_1696",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1696",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fashion",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fashion Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1708,
"slug": "fashion",
"isLoading": false,
"link": "/arts/tag/fashion"
},
"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_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_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_2763": {
"type": "terms",
"id": "arts_2763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mystic Theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mystic Theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2775,
"slug": "mystic-theatre",
"isLoading": false,
"link": "/arts/tag/mystic-theatre"
},
"arts_1985": {
"type": "terms",
"id": "arts_1985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1997,
"slug": "san-quentin",
"isLoading": false,
"link": "/arts/tag/san-quentin"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_8665": {
"type": "terms",
"id": "arts_8665",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8665",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rue McClanahan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rue McClanahan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8677,
"slug": "rue-mcclanahan",
"isLoading": false,
"link": "/arts/tag/rue-mcclanahan"
},
"arts_3547": {
"type": "terms",
"id": "arts_3547",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3547",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3559,
"slug": "castro",
"isLoading": false,
"link": "/arts/tag/castro"
},
"arts_6476": {
"type": "terms",
"id": "arts_6476",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6476",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6488,
"slug": "castro-theatre",
"isLoading": false,
"link": "/arts/tag/castro-theatre"
},
"arts_1942": {
"type": "terms",
"id": "arts_1942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1954,
"slug": "comics",
"isLoading": false,
"link": "/arts/tag/comics"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"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_5665": {
"type": "terms",
"id": "arts_5665",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5665",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beastie boys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beastie boys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5677,
"slug": "beastie-boys",
"isLoading": false,
"link": "/arts/tag/beastie-boys"
},
"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_974": {
"type": "terms",
"id": "arts_974",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "974",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 992,
"slug": "rap",
"isLoading": false,
"link": "/arts/tag/rap"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_4681": {
"type": "terms",
"id": "arts_4681",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4681",
"found": true
},
"relationships": {},
"featImg": null,
"name": "los angeles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "los angeles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4693,
"slug": "los-angeles",
"isLoading": false,
"link": "/arts/tag/los-angeles"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
}
},
"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
}
}
