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_13865538": {
"type": "attachments",
"id": "arts_13865538",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865538",
"found": true
},
"parent": 13865537,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131.jpg",
"width": 1062,
"height": 796
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/screen-shot-2018-08-07-at-9.25.54-am-1-92c9a45b0265faba8a34a7be7068d7aa750a3131-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1567533525,
"modified": 1567535927,
"caption": "Farmers Anil Geela, left, and Pilli Tirupati do their version of the Kiki Challenge, dancing to Drake's song \"In My Feelings.\" In the mud. With oxen.",
"description": "Farmers Anil Geela, left, and Pilli Tirupati do their version of the Kiki Challenge, dancing to Drake's song \"In My Feelings.\" In the mud. With oxen.",
"title": "Farmers Anil Geela, left, and Pilli Tirupati do their version of the Kiki Challenge, dancing to Drake's song \"In My Feelings.\" In the mud. With oxen.",
"credit": "My Village Show Vlogs via YouTube/screenshot by NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865377": {
"type": "attachments",
"id": "arts_13865377",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865377",
"found": true
},
"parent": 13865363,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85.jpg",
"width": 1300,
"height": 650
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/composite_custom-5a5bd93cf83da3b2fd26b9969c999531ef287608-s1300-c85-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1567185720,
"modified": 1567185798,
"caption": "(Clockwise from upper left) Kennedy McMann in 'Nancy Drew,' Forest Whitaker in 'Godfather of Harlem,' Ruby Rose in 'Batwoman,' TJ Atoms in 'Wu-Tang: An American Saga,' Kathy Bates in 'American Horror Story: 1984,' Ben Platt in 'The Politician.'",
"description": "(Clockwise from upper left) Kennedy McMann in 'Nancy Drew,' Forest Whitaker in 'Godfather of Harlem,' Ruby Rose in 'Batwoman,' TJ Atoms in 'Wu-Tang: An American Saga,' Kathy Bates in 'American Horror Story: 1984,' Ben Platt in 'The Politician.'",
"title": "(Clockwise from upper left) Kennedy McMann in 'Nancy Drew,' Forest Whitaker in 'Godfather of Harlem,' Ruby Rose in 'Batwoman,' TJ Atoms in 'Wu-Tang: An American Saga,' Kathy Bates in 'American Horror Story: 1984,' Ben Platt in 'The Politician.'",
"credit": "Robert Falconer/The CW, David Lee/Epix, Kimberley French/The CW, Courtesy of Hulu, Courtesy of FX, Courtesy of Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864936": {
"type": "attachments",
"id": "arts_13864936",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864936",
"found": true
},
"parent": 13864931,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin.jpg",
"width": 1920,
"height": 1051
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1020x558.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 558
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1200x657.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 657
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1920x1051.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1051
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-800x438.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 438
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-768x420.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 420
}
},
"publishDate": 1566891274,
"modified": 1566891305,
"caption": "Bad Bunny and J Balvin perform onstage during the 2019 MTV Video Music Awards. ",
"description": "Bad Bunny and J Balvin perform onstage during the 2019 MTV Video Music Awards. ",
"title": "GettyImages-1170420945_JBalvin",
"credit": "Photo by Noam Galai/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865027": {
"type": "attachments",
"id": "arts_13865027",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865027",
"found": true
},
"parent": 13865026,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e.jpg",
"width": 2048,
"height": 1392
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1020x693.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 693
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1200x816.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 816
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1920x1305.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1305
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-800x544.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 544
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-768x522.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 522
}
},
"publishDate": 1566932363,
"modified": 1566933248,
"caption": "Kendrick Lamar performs at the 2015 BET Awards in Los Angeles.\n",
"description": "Kendrick Lamar performs at the 2015 BET Awards in Los Angeles.",
"title": "Kendrick Lamar performs at the 2015 BET Awards in Los Angeles.",
"credit": "Christopher Polk/Getty Images for BET",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864956": {
"type": "attachments",
"id": "arts_13864956",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864956",
"found": true
},
"parent": 13864955,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566919198,
"modified": 1566919198,
"caption": null,
"description": "Lizzo performs at the 2019 MTV Video Music Awards in Newark, N.J.",
"title": "Lizzo performs at the 2019 MTV Video Music Awards in Newark, New Jersey.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864919": {
"type": "attachments",
"id": "arts_13864919",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864919",
"found": true
},
"parent": 13864915,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170424112-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566880215,
"modified": 1566880340,
"caption": "Missy Elliott poses in the Press Room with the Michael Jackson Video Vanguard Award during the 2019 MTV Video Music Awards at Prudential Center on August 26, 2019 in Newark, New Jersey. ",
"description": "Missy Elliott poses in the Press Room with the Michael Jackson Video Vanguard Award during the 2019 MTV Video Music Awards at Prudential Center on August 26, 2019 in Newark, New Jersey. ",
"title": "2019 MTV Video Music Awards - Press Room",
"credit": " Roy Rochlin/Getty Images for MTV",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864878": {
"type": "attachments",
"id": "arts_13864878",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864878",
"found": true
},
"parent": 13864877,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126.jpg",
"width": 1665,
"height": 1249
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/815rduqfmdl-b4a9224801ec207714aaadf6e433e70de44ae126-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1566853804,
"modified": 1566854196,
"caption": "'Basquiat' by Paolo Parisi.",
"description": "'Basquiat' by Paolo Parisi.",
"title": "'Basquiat' by Paolo Parisi.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864869": {
"type": "attachments",
"id": "arts_13864869",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864869",
"found": true
},
"parent": 13864868,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/onbecomingagod_102_0215_r_wide-7e14d1fe9291e626e2a5cce63cb754961dbde5ca-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/onbecomingagod_102_0215_r_wide-7e14d1fe9291e626e2a5cce63cb754961dbde5ca-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/onbecomingagod_102_0215_r_wide-7e14d1fe9291e626e2a5cce63cb754961dbde5ca.jpg",
"width": 953,
"height": 536
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/onbecomingagod_102_0215_r_wide-7e14d1fe9291e626e2a5cce63cb754961dbde5ca-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/onbecomingagod_102_0215_r_wide-7e14d1fe9291e626e2a5cce63cb754961dbde5ca-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566852644,
"modified": 1566853397,
"caption": "Kirsten Dunst is excellent in the Showtime series 'On Becoming a God in Central Florida,' playing struggling mom Krystal Stubbs.",
"description": "Kirsten Dunst is excellent in the Showtime series 'On Becoming a God in Central Florida,' playing struggling mom Krystal Stubbs.",
"title": "Kirsten Dunst is excellent in the Showtime series 'On Becoming a God in Central Florida,' playing struggling mom Krystal Stubbs.",
"credit": "Patty Perret/Sony/Showtime",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864823": {
"type": "attachments",
"id": "arts_13864823",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864823",
"found": true
},
"parent": 13864820,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084.jpg",
"width": 1024,
"height": 680
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-1020x677.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 677
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1566840292,
"modified": 1566840339,
"caption": "Co-Director/screenwriter Adrian Molina, actors Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt and Edward James Olmos at the Global Press Conference for Disney-Pixar's \"Coco.\"",
"description": "Co-Director/screenwriter Adrian Molina, actors Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt and Edward James Olmos at the Global Press Conference for Disney-Pixar's \"Coco.\"",
"title": "\"COCO\" Global Press Conference",
"credit": "Alberto E. Rodriguez/Getty Images for Disney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864806": {
"type": "attachments",
"id": "arts_13864806",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864806",
"found": true
},
"parent": 13864805,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566836996,
"modified": 1566837221,
"caption": "The new animated short Hair Love follows the story of an African American father trying to do his daughter's hair.",
"description": "The new animated short Hair Love follows the story of an African American father trying to do his daughter's hair.",
"title": "The new animated short Hair Love follows the story of an African American father trying to do his daughter's hair.",
"credit": "Courtesy of Sony Pictures Animation",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864800": {
"type": "attachments",
"id": "arts_13864800",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864800",
"found": true
},
"parent": 13864799,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c.png",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-1200x675.png",
"width": 1200,
"mimeType": "image/png",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-1920x1080.png",
"width": 1920,
"mimeType": "image/png",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/zim_still_41_wide-8b5d4564bf36d9cb8ac3854a4255f7870dc5fa5c-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1566683427,
"modified": 1566684040,
"caption": "Our favorite incompetent invader is back in 'Invader Zim: Enter the Florpus.'",
"description": "Our favorite incompetent invader is back in 'Invader Zim: Enter the Florpus.'",
"title": "Our favorite incompetent invader is back in 'Invader Zim: Enter the Florpus.'",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864746": {
"type": "attachments",
"id": "arts_13864746",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864746",
"found": true
},
"parent": 13864725,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356.jpg",
"width": 1024,
"height": 683
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1169598356-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1566585592,
"modified": 1566585630,
"caption": "Taylor Swift performs on ABC's \"Good Morning America\" at SummerStage at Rumsey Playfield, Central Park. ",
"description": "Taylor Swift performs on ABC's \"Good Morning America\" at SummerStage at Rumsey Playfield, Central Park. ",
"title": "Taylor Swift Performs On ABC's \"Good Morning America\"",
"credit": "Photo by Dia Dipasupil/Getty Images for ABA",
"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_13865537": {
"type": "authors",
"id": "byline_arts_13865537",
"meta": {
"override": true
},
"slug": "byline_arts_13865537",
"name": "Kamala Thiagarajan",
"isLoading": false
},
"byline_arts_13865363": {
"type": "authors",
"id": "byline_arts_13865363",
"meta": {
"override": true
},
"slug": "byline_arts_13865363",
"name": "Eric Deggans, Glen Weldon, Linda Holmes,",
"isLoading": false
},
"byline_arts_13865026": {
"type": "authors",
"id": "byline_arts_13865026",
"meta": {
"override": true
},
"slug": "byline_arts_13865026",
"name": "Andrew Limbong",
"isLoading": false
},
"byline_arts_13864955": {
"type": "authors",
"id": "byline_arts_13864955",
"meta": {
"override": true
},
"slug": "byline_arts_13864955",
"name": "Stephen Thompson",
"isLoading": false
},
"byline_arts_13864877": {
"type": "authors",
"id": "byline_arts_13864877",
"meta": {
"override": true
},
"slug": "byline_arts_13864877",
"name": "ETELKA LEHOCZKY",
"isLoading": false
},
"byline_arts_13864868": {
"type": "authors",
"id": "byline_arts_13864868",
"meta": {
"override": true
},
"slug": "byline_arts_13864868",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13864820": {
"type": "authors",
"id": "byline_arts_13864820",
"meta": {
"override": true
},
"slug": "byline_arts_13864820",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13864805": {
"type": "authors",
"id": "byline_arts_13864805",
"meta": {
"override": true
},
"slug": "byline_arts_13864805",
"name": "Michel Martin",
"isLoading": false
},
"byline_arts_13864799": {
"type": "authors",
"id": "byline_arts_13864799",
"meta": {
"override": true
},
"slug": "byline_arts_13864799",
"name": "Vincent Acovino",
"isLoading": false
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"lblanco": {
"type": "authors",
"id": "11357",
"meta": {
"index": "authors_1716337520",
"id": "11357",
"found": true
},
"name": "Lina Blanco",
"firstName": "Lina",
"lastName": "Blanco",
"slug": "lblanco",
"email": "lblanco@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Lina was a Senior Engagement Platforms Manager for KQED News, producing engagement strategies on social media at \u003ca href=\"https://twitter.com/KQEDnews\">@KQEDNews, \u003c/a>via \u003ca href=\"https://www.kqed.org/about/newsletters/\">KQED's daily newsletter\u003c/a> as well as texting campaigns with KQED readers and listeners. She also co-produces for KQED's bilingual news hub \u003ca href=\"https://www.instagram.com/kqedenespanol/\">KQED en Español\u003c/a>.\r\n\r\nLina previously worked for \u003ca href=\"https://kqed.org/arts\">KQED Arts\u003c/a> — supporting audience engagement efforts on the weekly \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">\u003cem>Rightnowish\u003c/em> \u003c/a>podcast, Webby-winning video series \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a>, and daily Arts & Culture reporting. She won a \u003ca href=\"https://www.kqed.org/pressroom/10884/murrow\">National 2019 Edward R. Murrow Award for Excellence in Social Media\u003c/a> for KQED's series \u003cem>The Hustle\u003c/em>.\r\n\r\nBefore KQED, Lina worked as a graphic designer and digital storytelling facilitator at the \u003ca href=\"https://www.nativehealth.org/\">Native American Health Center\u003c/a>.\r\n\r\nShe's mom to a senior Chihuahua (plus one black cat) and lives in West Sonoma County on a small farmstead.",
"avatar": "https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=mm&r=g",
"twitter": "LinaBlanco",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "about",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": []
},
{
"site": "perspectives",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Lina Blanco | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/lblanco"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
}
},
"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": 138
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 138
}
},
{
"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_13865537": {
"type": "posts",
"id": "arts_13865537",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865537",
"score": null,
"sort": [
1567536123000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1567536123,
"format": "standard",
"title": "Whatever Happened to the Indian Farmers Who Won the 'Kiki Challenge'?",
"headTitle": "Whatever Happened to the Indian Farmers Who Won the ‘Kiki Challenge’? | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>In August 2018, NPR reported on two farmers from a small village in India who went viral for \u003c/em>\u003c/strong>\u003ca href=\"https://www.kqed.org/pop/104969/indian-farmers-plus-oxen-just-won-the-kiki-challenge\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>dancing in a rice paddy\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> to rapper Drake’s hit song, “In My Feelings.” The video of them doing the so-called “Kiki challenge” racked up more than 1 million views. Where are the farmers and the creator of the video now? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Ever since the internet hailed the dancing farmer video, life has changed in big and small ways, says Sriram Srikanth, 28, the vlogger who choreographed the dance and shot the video.\u003c/p>\n\u003cp>Their little jig put the tiny village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana on the map.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so0BwyMEO8w\u003c/p>\n\u003cp>Fans seek out their village, Srikanth says. “Many of our days begin by meeting people who’ve traveled long hours to come to see us,” he says. At least 20 people show up every day on weekdays, and many more on weekends. He says they often just want to tell them how much they appreciate village life and their vlogs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a great feeling to meet them, to see their interest in our village and our work,” he adds.\u003c/p>\n\u003cp>The viral video also helped grow Srikanth’s YouTube channel, \u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>. He started it in 2012 to chronicle the exasperating and endearing aspects of village life with doses of slapstick comedy. When the channel first launched, it had a little over 1,000 subscribers. Today, it has over 900,000 subscribers and 200 episodes.\u003c/p>\n\u003cp>After the Kiki challenge, Srikanth and his team uploaded 38 videos last year, 22 of which have scored over a million views. Some of their popular videos are humorous takes about how villagers deal with the influences of modern life—smartphones, selfie sticks, virtual reality technology, even fidget spinners.\u003c/p>\n\u003cp>The success has helped Srikanth build a steady income with advertising revenue and allowed him to pay his team and actors.\u003c/p>\n\u003cp>In the months after the Kiki challenge video, the My Village Show team expanded. “We’re currently employing eight villagers who’ve joined us in acting and scriptwriting,” says Srikanth. “We’ve built an office, and we train people in computer literacy. We’re hoping that it will help the younger ones find employment.”\u003c/p>\n\u003cp>Some people in the village are still trying to figure out why the Kiki video captivated a global audience. “They wonder why the international media came knocking on our doors when all we did was dance in the muck,” says Srikanth, laughing.\u003c/p>\n\u003cp>And what about the dancing farmers?\u003c/p>\n\u003cp>Anil Geela, 25, has been offered a role in an Indian film. He’s transitioned from farming and being a regular on My Village Show to full-time acting. “It’s a small role—I play the friend of the bad guy and there’s lots of comedy,” he says with a laugh. The movie is set for a year-end release.\u003c/p>\n\u003cp>Pilli Tirupati, 29, had a baby boy just days after the video went viral. The villagers started calling the infant Kiki and the nickname stuck, he says.\u003c/p>\n\u003cp>Still a rice farmer, Tirupati shares one of his current struggles. “In Lambadipally village, water scarcity isn’t the big problem. The biggest problem is the monkey menace,” he says. “We have to stick to paddy farming, because if we plant fruits or vegetables, unruly monkeys end up eating and ruining our crops!”\u003c/p>\n\u003cp>Though things are busier for the team at My Village Show and more villagers are recruited to act in the vlogs, life for the farmers and the vlogger has remained more or less the same, they say.\u003c/p>\n\u003cp>But they have noticed a change in the way outsiders view village life. “Everyone knows rural life isn’t easy. There’s a perception that it is impoverished, when there really is a lot of abundance,” says Srikanth.\u003c/p>\n\u003cp>“I feel like the biggest impact our work has made is to show how living in a village can be beautiful and charming, and that there are joyful experiences,” he adds.\u003c/p>\n\u003cp>Despite the hardships, we’re blessed to live this life, says Geela. “We’re healthy, happy, have strong friendships and deep connections to the land. If you have roots in a small village, it’s no longer a reason to be ashamed. And that’s the message we’d really like to see go viral.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, \u003cem>BBC Travel and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\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=Whatever+Happened+To+...+The+Farmers+Who+Danced+In+The+Mud+For+The+%27Kiki+Challenge%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 815,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705022217,
"excerpt": "Last summer, they danced to Drake's \"In My Feelings\" in a rice paddy and racked up a million page views. Now one of them is a budding actor, and the other has a child named Kiki.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Last summer, they danced to Drake's "In My Feelings" in a rice paddy and racked up a million page views. Now one of them is a budding actor, and the other has a child named Kiki.",
"title": "Whatever Happened to the Indian Farmers Who Won the 'Kiki Challenge'? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Whatever Happened to the Indian Farmers Who Won the 'Kiki Challenge'?",
"datePublished": "2019-09-03T11:42:03-07:00",
"dateModified": "2024-01-11T17:16:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whatever-happened-to-the-indian-farmers-who-won-the-kiki-challenge",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=755812995&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Kamala Thiagarajan",
"nprStoryDate": "Sun, 01 Sep 2019 07:00:29 -0400",
"nprLastModifiedDate": "Sun, 01 Sep 2019 07:00:29 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/goatsandsoda/2019/09/01/755812995/whatever-happened-to-the-farmers-who-danced-in-the-mud-for-the-kiki-challenge?ft=nprml&f=755812995",
"nprImageAgency": "My Village Show Vlogs via YouTube/screenshot by NPR",
"nprStoryId": "755812995",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 01 Sep 2019 07:00:00 -0400",
"path": "/arts/13865537/whatever-happened-to-the-indian-farmers-who-won-the-kiki-challenge",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>In August 2018, NPR reported on two farmers from a small village in India who went viral for \u003c/em>\u003c/strong>\u003ca href=\"https://www.kqed.org/pop/104969/indian-farmers-plus-oxen-just-won-the-kiki-challenge\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>dancing in a rice paddy\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> to rapper Drake’s hit song, “In My Feelings.” The video of them doing the so-called “Kiki challenge” racked up more than 1 million views. Where are the farmers and the creator of the video now? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Ever since the internet hailed the dancing farmer video, life has changed in big and small ways, says Sriram Srikanth, 28, the vlogger who choreographed the dance and shot the video.\u003c/p>\n\u003cp>Their little jig put the tiny village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana on the map.\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/so0BwyMEO8w'\n title='//www.youtube.com/embed/so0BwyMEO8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fans seek out their village, Srikanth says. “Many of our days begin by meeting people who’ve traveled long hours to come to see us,” he says. At least 20 people show up every day on weekdays, and many more on weekends. He says they often just want to tell them how much they appreciate village life and their vlogs.\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>“It’s a great feeling to meet them, to see their interest in our village and our work,” he adds.\u003c/p>\n\u003cp>The viral video also helped grow Srikanth’s YouTube channel, \u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>. He started it in 2012 to chronicle the exasperating and endearing aspects of village life with doses of slapstick comedy. When the channel first launched, it had a little over 1,000 subscribers. Today, it has over 900,000 subscribers and 200 episodes.\u003c/p>\n\u003cp>After the Kiki challenge, Srikanth and his team uploaded 38 videos last year, 22 of which have scored over a million views. Some of their popular videos are humorous takes about how villagers deal with the influences of modern life—smartphones, selfie sticks, virtual reality technology, even fidget spinners.\u003c/p>\n\u003cp>The success has helped Srikanth build a steady income with advertising revenue and allowed him to pay his team and actors.\u003c/p>\n\u003cp>In the months after the Kiki challenge video, the My Village Show team expanded. “We’re currently employing eight villagers who’ve joined us in acting and scriptwriting,” says Srikanth. “We’ve built an office, and we train people in computer literacy. We’re hoping that it will help the younger ones find employment.”\u003c/p>\n\u003cp>Some people in the village are still trying to figure out why the Kiki video captivated a global audience. “They wonder why the international media came knocking on our doors when all we did was dance in the muck,” says Srikanth, laughing.\u003c/p>\n\u003cp>And what about the dancing farmers?\u003c/p>\n\u003cp>Anil Geela, 25, has been offered a role in an Indian film. He’s transitioned from farming and being a regular on My Village Show to full-time acting. “It’s a small role—I play the friend of the bad guy and there’s lots of comedy,” he says with a laugh. The movie is set for a year-end release.\u003c/p>\n\u003cp>Pilli Tirupati, 29, had a baby boy just days after the video went viral. The villagers started calling the infant Kiki and the nickname stuck, he says.\u003c/p>\n\u003cp>Still a rice farmer, Tirupati shares one of his current struggles. “In Lambadipally village, water scarcity isn’t the big problem. The biggest problem is the monkey menace,” he says. “We have to stick to paddy farming, because if we plant fruits or vegetables, unruly monkeys end up eating and ruining our crops!”\u003c/p>\n\u003cp>Though things are busier for the team at My Village Show and more villagers are recruited to act in the vlogs, life for the farmers and the vlogger has remained more or less the same, they say.\u003c/p>\n\u003cp>But they have noticed a change in the way outsiders view village life. “Everyone knows rural life isn’t easy. There’s a perception that it is impoverished, when there really is a lot of abundance,” says Srikanth.\u003c/p>\n\u003cp>“I feel like the biggest impact our work has made is to show how living in a village can be beautiful and charming, and that there are joyful experiences,” he adds.\u003c/p>\n\u003cp>Despite the hardships, we’re blessed to live this life, says Geela. “We’re healthy, happy, have strong friendships and deep connections to the land. If you have roots in a small village, it’s no longer a reason to be ashamed. And that’s the message we’d really like to see go viral.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, \u003cem>BBC Travel and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\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=Whatever+Happened+To+...+The+Farmers+Who+Danced+In+The+Mud+For+The+%27Kiki+Challenge%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865537/whatever-happened-to-the-indian-farmers-who-won-the-kiki-challenge",
"authors": [
"byline_arts_13865537"
],
"categories": [
"arts_75"
],
"tags": [
"arts_6117",
"arts_8238",
"arts_8491",
"arts_4554"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13865538",
"label": "arts_137"
},
"arts_13865363": {
"type": "posts",
"id": "arts_13865363",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865363",
"score": null,
"sort": [
1567186096000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1567186096,
"format": "standard",
"title": "NPR's Fall TV Preview: 19 Shows to Watch Out For",
"headTitle": "NPR’s Fall TV Preview: 19 Shows to Watch Out For | KQED",
"content": "\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSV42j8lccg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w37TQZwnjXY\u003c/p>\n\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uWCNHQgfnc\u003c/p>\n\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5fZ_S_wlx0Q\u003c/p>\n\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9wcEiFIM3mM\u003c/p>\n\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tv0C2yWFcWM\u003c/p>\n\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aAD2deAqxCE\u003c/p>\n\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6oy1USJR348\u003c/p>\n\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YV7ezBolDug\u003c/p>\n\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-kdBlzCG7w\u003c/p>\n\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FV5BNaUZyqA\u003c/p>\n\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zymgtV99Rko\u003c/p>\n\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrIiPcv4_iY\u003c/p>\n\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wqrIhZVYSE\u003c/p>\n\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qgfNOKoykL4\u003c/p>\n\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ROkHJnBOSIs\u003c/p>\n\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2481,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 43
},
"modified": 1705022225,
"excerpt": "Whether they're watching sitcoms, prime-time dramas or something else altogether, our television and pop culture critics present a guide to the new programs and series coming out soon.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Whether they're watching sitcoms, prime-time dramas or something else altogether, our television and pop culture critics present a guide to the new programs and series coming out soon.",
"title": "NPR's Fall TV Preview: 19 Shows to Watch Out For | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NPR's Fall TV Preview: 19 Shows to Watch Out For",
"datePublished": "2019-08-30T10:28:16-07:00",
"dateModified": "2024-01-11T17:17:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nprs-fall-tv-preview-19-shows-to-watch-out-for",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753172709&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 28 Aug 2019 05:00:41 -0400",
"nprLastModifiedDate": "Wed, 28 Aug 2019 11:16:06 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/28/753172709/nprs-fall-tv-preview-19-shows-to-watch-out-for?ft=nprml&f=753172709",
"nprImageAgency": "The CW",
"nprStoryId": "753172709",
"nprByline": "Eric Deggans, Glen Weldon, Linda Holmes,",
"sticky": false,
"nprImageCredit": "Kimberley French",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 28 Aug 2019 11:16:00 -0400",
"path": "/arts/13865363/nprs-fall-tv-preview-19-shows-to-watch-out-for",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\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/zSV42j8lccg'\n title='//www.youtube.com/embed/zSV42j8lccg'\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>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\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/w37TQZwnjXY'\n title='//www.youtube.com/embed/w37TQZwnjXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\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/6uWCNHQgfnc'\n title='//www.youtube.com/embed/6uWCNHQgfnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\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/5fZ_S_wlx0Q'\n title='//www.youtube.com/embed/5fZ_S_wlx0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\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/9wcEiFIM3mM'\n title='//www.youtube.com/embed/9wcEiFIM3mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\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/Tv0C2yWFcWM'\n title='//www.youtube.com/embed/Tv0C2yWFcWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\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/aAD2deAqxCE'\n title='//www.youtube.com/embed/aAD2deAqxCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\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/6oy1USJR348'\n title='//www.youtube.com/embed/6oy1USJR348'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\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/YV7ezBolDug'\n title='//www.youtube.com/embed/YV7ezBolDug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\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/6-kdBlzCG7w'\n title='//www.youtube.com/embed/6-kdBlzCG7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\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/FV5BNaUZyqA'\n title='//www.youtube.com/embed/FV5BNaUZyqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\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/zymgtV99Rko'\n title='//www.youtube.com/embed/zymgtV99Rko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\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/vrIiPcv4_iY'\n title='//www.youtube.com/embed/vrIiPcv4_iY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\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/2wqrIhZVYSE'\n title='//www.youtube.com/embed/2wqrIhZVYSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\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/qgfNOKoykL4'\n title='//www.youtube.com/embed/qgfNOKoykL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\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/ROkHJnBOSIs'\n title='//www.youtube.com/embed/ROkHJnBOSIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\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>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865363/nprs-fall-tv-preview-19-shows-to-watch-out-for",
"authors": [
"byline_arts_13865363"
],
"categories": [
"arts_75",
"arts_990"
],
"tags": [
"arts_8482",
"arts_2210",
"arts_8481",
"arts_8237",
"arts_8350",
"arts_5234",
"arts_8480",
"arts_3324",
"arts_4565",
"arts_8404"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13865377",
"label": "arts_137"
},
"arts_13864931": {
"type": "posts",
"id": "arts_13864931",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864931",
"score": null,
"sort": [
1566956073000
]
},
"guestAuthors": [],
"slug": "the-vmas-made-strides-with-latinx-representation-but-ultimately-fell-short",
"title": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short",
"publishDate": 1566956073,
"format": "standard",
"headTitle": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. [aside postid='arts_13864915']\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EDbDtVcmYA\u003c/p>\n\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Spanish-language performances were a step in the right direction, but the award show also erased cultural nuance—particularly in the diaspora.",
"status": "publish",
"parent": 0,
"modified": 1726766313,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 655
},
"headData": {
"title": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short | KQED",
"description": "Spanish-language performances were a step in the right direction, but the award show also erased cultural nuance—particularly in the diaspora.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short",
"datePublished": "2019-08-27T18:34:33-07:00",
"dateModified": "2024-09-19T10:18:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13864931/the-vmas-made-strides-with-latinx-representation-but-ultimately-fell-short",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13864915",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\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/3EDbDtVcmYA'\n title='//www.youtube.com/embed/3EDbDtVcmYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864931/the-vmas-made-strides-with-latinx-representation-but-ultimately-fell-short",
"authors": [
"11357"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_6226",
"arts_2519",
"arts_1256",
"arts_5747",
"arts_8416",
"arts_596",
"arts_4244",
"arts_974",
"arts_4136",
"arts_4554"
],
"featImg": "arts_13864936",
"label": "arts"
},
"arts_13865026": {
"type": "posts",
"id": "arts_13865026",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865026",
"score": null,
"sort": [
1566933336000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1566933336,
"format": "standard",
"title": "Both Party and Protest, 'Alright' is the Sound of Black Life's Duality",
"headTitle": "Both Party and Protest, ‘Alright’ is the Sound of Black Life’s Duality | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>It was a coincidence that the police were there.\u003c/p>\n\u003cp>In the summer of 2015, hundreds of black activists and organizers from across the country gathered on the campus of Cleveland State University for a three-day conference called the Movement for Black Lives. This was an opportunity to get together and share best practices and plan future actions, and was the first time many of them were meeting face to face.\u003c/p>\n\u003cp>It was a heavy moment. News was spreading about Sandra Bland—a black woman who was found dead in a Texas jail cell after being arrested at a traffic stop, and just the latest in a long list of names that had become synonymous with police violence against black people. But there were moments of joy, too. During a break, someone put on the song “\u003ca href=\"https://www.youtube.com/watch?v=Z-48u_uWMHY\">Alright\u003c/a>” by \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, and a whole auditorium of people broke loose.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=Z-48u_uWMHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a celebratory moment of black love,” says Waltrina Midleton. She’s a youth reverend, then based in Cleveland, who helped set up the event.\u003c/p>\n\u003cp>The conference ended on a Sunday afternoon. At the same time people were saying their goodbyes with hugs and kisses, a bus was coming across campus. Inside, a police officer was detaining a black 14-year-old suspected of drinking alcohol. \u003ca href=\"https://www.youtube.com/watch?v=PivXg7xp2F0\">In surveillance and body cam tape\u003c/a> released by the Greater Cleveland Authority Regional Transit Police, you can see the cop take the kid off the bus and handcuff him inside a sheltered bus stop.\u003c/p>\n\u003cp>Middleton could make out that something was going on. “I’m standing on the steps,” she says, “and all of a sudden, the crowd went from of folks saying goodbye to, ‘Oh, something’s happening.’ ” It had been less than a year since police shot and killed Tamir Rice, a 12-year-old who was playing with an Airsoft gun outside a rec center, in the very same city. People started gathering at the scene, holding up their phones to record.\u003c/p>\n\u003cp>According to the incident report, officers asked the 14-year-old for his mother’s name and address, which he gave to them. One of the bystanders also asked for this information. From the report:\u003c/p>\n\u003cblockquote>\u003cp>“That unknown female was informed by us that we will handle calling a parent or guardian. [REDACTED] blurted out to her his mother’s phone number. Ptl. Horton and Ptl. Dorko were blocking the crowd from entering the shelter and the ability for them to have any communication with [REDACTED] (for his safety).”\u003c/p>\u003c/blockquote>\n\u003cp>“Our ultimate goal was to make sure that this young child was not criminalized,” Middleton says. “That this child left the situation alive, and also that an adult who was accountable for that child was present.”\u003c/p>\n\u003cp>The crowd grew, more police showed up, and bystanders became protesters. Some of them linked arms around the police cars. An officer pepper sprayed them. The scene continued to intensify until, finally, the teen’s mother arrived. The police escorted mom and son to an ambulance, and then let them go.\u003c/p>\n\u003cp>For a story involving a young black male, escalating tensions, police in riot gear and people getting pepper sprayed, this is a happy ending. Some of the protesters begin to shout a familiar refrain: “\u003ca href=\"https://www.youtube.com/watch?v=VUC_DOhfzwQ\">We gon’ be alright\u003c/a>.”\u003c/p>\n\u003chr>\n\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> was released in the spring of 2015. “Alright” was the fourth single off the record. It’s hard to say exactly when the song was first used at a protest, but the story in Cleveland touched on many of the issues of the moment concerning police relations with black people. At \u003ca href=\"https://twitter.com/TheHilltopHU/status/652838787492519936\">similar\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=c2hKKT7JWcA&t=2s\">demonstrations\u003c/a>, the chanted hook quickly became a fixture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=4lPD5PtqMiE&t=1554s\">In a 2016 interview\u003c/a> with super-producer Rick Rubin hosted by \u003cem>GQ\u003c/em>, Lamar said he sat on the beat—dreamed up by another super-producer, \u003ca href=\"https://www.npr.org/artists/122029835/pharrell-williams\">Pharrell Williams\u003c/a>—for six months before figuring out what he wanted to say. “The beat sounds fun,” he said. “But it’s something else inside the chords that Pharrell put down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1554&v=4lPD5PtqMiE\u003c/p>\n\u003cp>The \u003cem>dah dah dah\u003c/em>s that make up those chords are Williams’ own disembodied voice, running constantly through the song. They’re haunting, in a way. “Maybe it’s the ancestors who never received the justice they deserved,” says Miles Marshall Lewis.\u003c/p>\n\u003cp>The author of the upcoming book \u003cem>Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar\u003c/em>, Lewis interviewed Lamar after the release of \u003cem>To Pimp a Butterfly\u003c/em> and learned the artist was inspired to write “Alright” by a trip to South Africa—specifically the cell on Robben Island where Nelson Mandela was imprisoned. Similarly, Lamar told NPR in a 2015 interview that he was thinking about the history of chattel slavery in America.\u003c/p>\n\u003cp>“Four hundred years ago, as slaves, we prayed and sung joyful songs to keep our heads level-headed with what was going on,” Lamar said. “Four hundred years later, we still need that music to heal. And I think that ‘Alright’ is definitely one of those records that makes you feel good no matter what the times are.”\u003c/p>\n\u003cp>In the song’s prechorus, Lamar lays this feeling out succinctly. He begins in the past:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Wouldn’t you know, we been hurt, been down before\u003cbr>\nWhen our pride was low\u003cbr>\nLooking at the world like “Where do we go?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The emotional payoff of the chorus isn’t complete without this lead-in, acknowledging the long history of black oppression. Then he brings us back to the present, where things are different, but not different enough:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>And we hate po-po\u003cbr>\nWanna kill us dead in the streets for sure\u003cbr>\nI’m at the preacher’s door\u003cbr>\nMy knees getting weak, and my gun might blow,\u003cbr>\nBut we gon’ be alright\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>When the narrator shows up at a preacher’s door, reeling in the face of police violence and oppression, he’s holding a gun. Lewis says the moment reflects the old duality of the civil rights struggle: “He might trade in the Martin hat for the Malcolm hat, and have to defend himself.”\u003c/p>\n\u003cp>But it’s up to the listener to decide which way the gun is pointed: at the police, at the preacher, at someone else, or back at the artist himself.\u003c/p>\n\u003chr>\n\u003cp>On June 17, 2015, a white nationalist shot and killed nine black people inside Emanuel AME Church in Charleston, S. C.—including Reverend DePayne Middleton Doctor, Waltrina Middleton’s cousin. In the aftermath, Middleton said she wanted to leave her work, her ministry, her activism, shut the door to the world and people around her. “It’s so easy to say ‘my cousin was murdered, I’m done. Eff all this. This isn’t going to change anything.’ And walk away,” she said.\u003c/p>\n\u003cp>This sentiment is reflected in “Alright,” too — particularly the contrast of the bright, optimistic, communal chorus against the dark, self-critical and solitary verses: “I can see the evil, I can tell it, I know it’s illegal / I don’t think about it, I deposit every other zero.” There’s a powerlessness here, as even Lamar, who at this point in his career was positioned as \u003cem>the\u003c/em> rapper, succumbs to apathy and greed.\u003c/p>\n\u003cp>“He’s not denying that we’re in a protracted state of trauma,” Middleton says. “He’s saying, ‘I know that we may have all of these things around us that will allow us to escape, but the movement is still there, the fight is still there.’ And I think it’s important to recognize that—because sometimes we don’t think about the psychological impact and trauma of fighting for your life every single day.”\u003c/p>\n\u003cp>“After the death of Freddie Gray, a lot of us was just stuck and lost,” says Devin Allen. He’s a photographer from Baltimore, who documented many of the protests, prayers, riots and marches that took place in 2015 when Freddie Gray, a 25-year-old black man, died after injuries he sustained while being transported by police.\u003c/p>\n\u003cp>When we spoke, Allen talked about the curfew that followed, the occupation, the black people shot by police who, for better or worse, haven’t become household names. He said that protesters in Baltimore weren’t singing “Alright” in the streets like in other cities. Instead, the song had a more private presence: something you listened to in the car by yourself, at home with your family, at the club with your friends.\u003c/p>\n\u003cp>Allen’s photos these days deal with softer subject matter: Friends, neighbors, random kids living their lives in Baltimore. It’s cautiously optimistic work that he says is inspired by Lamar. And he sometimes posts videos of his daughter dancing along to “Alright,” or mugging for the camera, rapping along.\u003c/p>\n\u003cp>“One day we will be all right,” he says. “Gotta keep fighting for that. The moment I don’t believe it’s gonna be all right, what am I fighting for?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You can read the phrase “We gon’ be alright” as indicative of some distant future, where white supremacy and oppression are no longer a major concern — \u003cem>one day\u003c/em>, as Allen puts it. But maybe it can also mean something simpler, sooner. Something as small as coming home to your family.\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=Both+Party+And+Protest%2C+%27Alright%27+Is+The+Sound+Of+Black+Life%27s+Duality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1704,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1705022249,
"excerpt": "The Kendrick Lamar song turned protest chant against police violence identifies a daily balancing act: There is hope, and there is despair. There's the ideal world, and there's the real one.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Kendrick Lamar song turned protest chant against police violence identifies a daily balancing act: There is hope, and there is despair. There's the ideal world, and there's the real one.",
"title": "Both Party and Protest, 'Alright' is the Sound of Black Life's Duality | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Both Party and Protest, 'Alright' is the Sound of Black Life's Duality",
"datePublished": "2019-08-27T12:15:36-07:00",
"dateModified": "2024-01-11T17:17:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "both-party-and-protest-alright-is-the-sound-of-black-lifes-duality",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753511135&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 26 Aug 2019 05:06:00 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 26 Aug 2019 21:34:01 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/26/753511135/kendrick-lamar-alright-american-anthem-party-protest?ft=nprml&f=753511135",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/08/20190826_me_both_party_and_protest_alright_is_the_sound_of_black_lifes_duality.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=439&p=3&story=753511135&ft=nprml&f=753511135",
"nprImageAgency": "Getty Images for BET",
"nprAudioM3u": "http://api.npr.org/m3u/1754266286-7dcf19.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=439&p=3&story=753511135&ft=nprml&f=753511135",
"nprStoryId": "753511135",
"nprByline": "Andrew Limbong",
"sticky": false,
"audioTrackLength": 439,
"nprImageCredit": "Christopher Polk",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 26 Aug 2019 21:34:00 -0400",
"path": "/arts/13865026/both-party-and-protest-alright-is-the-sound-of-black-lifes-duality",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/08/20190826_me_both_party_and_protest_alright_is_the_sound_of_black_lifes_duality.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=439&p=3&story=753511135&ft=nprml&f=753511135",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>It was a coincidence that the police were there.\u003c/p>\n\u003cp>In the summer of 2015, hundreds of black activists and organizers from across the country gathered on the campus of Cleveland State University for a three-day conference called the Movement for Black Lives. This was an opportunity to get together and share best practices and plan future actions, and was the first time many of them were meeting face to face.\u003c/p>\n\u003cp>It was a heavy moment. News was spreading about Sandra Bland—a black woman who was found dead in a Texas jail cell after being arrested at a traffic stop, and just the latest in a long list of names that had become synonymous with police violence against black people. But there were moments of joy, too. During a break, someone put on the song “\u003ca href=\"https://www.youtube.com/watch?v=Z-48u_uWMHY\">Alright\u003c/a>” by \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, and a whole auditorium of people broke loose.\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/Z-48u_uWMHY'\n title='//www.youtube.com/embed/Z-48u_uWMHY'\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>“It was a celebratory moment of black love,” says Waltrina Midleton. She’s a youth reverend, then based in Cleveland, who helped set up the event.\u003c/p>\n\u003cp>The conference ended on a Sunday afternoon. At the same time people were saying their goodbyes with hugs and kisses, a bus was coming across campus. Inside, a police officer was detaining a black 14-year-old suspected of drinking alcohol. \u003ca href=\"https://www.youtube.com/watch?v=PivXg7xp2F0\">In surveillance and body cam tape\u003c/a> released by the Greater Cleveland Authority Regional Transit Police, you can see the cop take the kid off the bus and handcuff him inside a sheltered bus stop.\u003c/p>\n\u003cp>Middleton could make out that something was going on. “I’m standing on the steps,” she says, “and all of a sudden, the crowd went from of folks saying goodbye to, ‘Oh, something’s happening.’ ” It had been less than a year since police shot and killed Tamir Rice, a 12-year-old who was playing with an Airsoft gun outside a rec center, in the very same city. People started gathering at the scene, holding up their phones to record.\u003c/p>\n\u003cp>According to the incident report, officers asked the 14-year-old for his mother’s name and address, which he gave to them. One of the bystanders also asked for this information. From the report:\u003c/p>\n\u003cblockquote>\u003cp>“That unknown female was informed by us that we will handle calling a parent or guardian. [REDACTED] blurted out to her his mother’s phone number. Ptl. Horton and Ptl. Dorko were blocking the crowd from entering the shelter and the ability for them to have any communication with [REDACTED] (for his safety).”\u003c/p>\u003c/blockquote>\n\u003cp>“Our ultimate goal was to make sure that this young child was not criminalized,” Middleton says. “That this child left the situation alive, and also that an adult who was accountable for that child was present.”\u003c/p>\n\u003cp>The crowd grew, more police showed up, and bystanders became protesters. Some of them linked arms around the police cars. An officer pepper sprayed them. The scene continued to intensify until, finally, the teen’s mother arrived. The police escorted mom and son to an ambulance, and then let them go.\u003c/p>\n\u003cp>For a story involving a young black male, escalating tensions, police in riot gear and people getting pepper sprayed, this is a happy ending. Some of the protesters begin to shout a familiar refrain: “\u003ca href=\"https://www.youtube.com/watch?v=VUC_DOhfzwQ\">We gon’ be alright\u003c/a>.”\u003c/p>\n\u003chr>\n\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> was released in the spring of 2015. “Alright” was the fourth single off the record. It’s hard to say exactly when the song was first used at a protest, but the story in Cleveland touched on many of the issues of the moment concerning police relations with black people. At \u003ca href=\"https://twitter.com/TheHilltopHU/status/652838787492519936\">similar\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=c2hKKT7JWcA&t=2s\">demonstrations\u003c/a>, the chanted hook quickly became a fixture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=4lPD5PtqMiE&t=1554s\">In a 2016 interview\u003c/a> with super-producer Rick Rubin hosted by \u003cem>GQ\u003c/em>, Lamar said he sat on the beat—dreamed up by another super-producer, \u003ca href=\"https://www.npr.org/artists/122029835/pharrell-williams\">Pharrell Williams\u003c/a>—for six months before figuring out what he wanted to say. “The beat sounds fun,” he said. “But it’s something else inside the chords that Pharrell put down.”\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/4lPD5PtqMiE'\n title='//www.youtube.com/embed/4lPD5PtqMiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>dah dah dah\u003c/em>s that make up those chords are Williams’ own disembodied voice, running constantly through the song. They’re haunting, in a way. “Maybe it’s the ancestors who never received the justice they deserved,” says Miles Marshall Lewis.\u003c/p>\n\u003cp>The author of the upcoming book \u003cem>Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar\u003c/em>, Lewis interviewed Lamar after the release of \u003cem>To Pimp a Butterfly\u003c/em> and learned the artist was inspired to write “Alright” by a trip to South Africa—specifically the cell on Robben Island where Nelson Mandela was imprisoned. Similarly, Lamar told NPR in a 2015 interview that he was thinking about the history of chattel slavery in America.\u003c/p>\n\u003cp>“Four hundred years ago, as slaves, we prayed and sung joyful songs to keep our heads level-headed with what was going on,” Lamar said. “Four hundred years later, we still need that music to heal. And I think that ‘Alright’ is definitely one of those records that makes you feel good no matter what the times are.”\u003c/p>\n\u003cp>In the song’s prechorus, Lamar lays this feeling out succinctly. He begins in the past:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Wouldn’t you know, we been hurt, been down before\u003cbr>\nWhen our pride was low\u003cbr>\nLooking at the world like “Where do we go?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The emotional payoff of the chorus isn’t complete without this lead-in, acknowledging the long history of black oppression. Then he brings us back to the present, where things are different, but not different enough:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>And we hate po-po\u003cbr>\nWanna kill us dead in the streets for sure\u003cbr>\nI’m at the preacher’s door\u003cbr>\nMy knees getting weak, and my gun might blow,\u003cbr>\nBut we gon’ be alright\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>When the narrator shows up at a preacher’s door, reeling in the face of police violence and oppression, he’s holding a gun. Lewis says the moment reflects the old duality of the civil rights struggle: “He might trade in the Martin hat for the Malcolm hat, and have to defend himself.”\u003c/p>\n\u003cp>But it’s up to the listener to decide which way the gun is pointed: at the police, at the preacher, at someone else, or back at the artist himself.\u003c/p>\n\u003chr>\n\u003cp>On June 17, 2015, a white nationalist shot and killed nine black people inside Emanuel AME Church in Charleston, S. C.—including Reverend DePayne Middleton Doctor, Waltrina Middleton’s cousin. In the aftermath, Middleton said she wanted to leave her work, her ministry, her activism, shut the door to the world and people around her. “It’s so easy to say ‘my cousin was murdered, I’m done. Eff all this. This isn’t going to change anything.’ And walk away,” she said.\u003c/p>\n\u003cp>This sentiment is reflected in “Alright,” too — particularly the contrast of the bright, optimistic, communal chorus against the dark, self-critical and solitary verses: “I can see the evil, I can tell it, I know it’s illegal / I don’t think about it, I deposit every other zero.” There’s a powerlessness here, as even Lamar, who at this point in his career was positioned as \u003cem>the\u003c/em> rapper, succumbs to apathy and greed.\u003c/p>\n\u003cp>“He’s not denying that we’re in a protracted state of trauma,” Middleton says. “He’s saying, ‘I know that we may have all of these things around us that will allow us to escape, but the movement is still there, the fight is still there.’ And I think it’s important to recognize that—because sometimes we don’t think about the psychological impact and trauma of fighting for your life every single day.”\u003c/p>\n\u003cp>“After the death of Freddie Gray, a lot of us was just stuck and lost,” says Devin Allen. He’s a photographer from Baltimore, who documented many of the protests, prayers, riots and marches that took place in 2015 when Freddie Gray, a 25-year-old black man, died after injuries he sustained while being transported by police.\u003c/p>\n\u003cp>When we spoke, Allen talked about the curfew that followed, the occupation, the black people shot by police who, for better or worse, haven’t become household names. He said that protesters in Baltimore weren’t singing “Alright” in the streets like in other cities. Instead, the song had a more private presence: something you listened to in the car by yourself, at home with your family, at the club with your friends.\u003c/p>\n\u003cp>Allen’s photos these days deal with softer subject matter: Friends, neighbors, random kids living their lives in Baltimore. It’s cautiously optimistic work that he says is inspired by Lamar. And he sometimes posts videos of his daughter dancing along to “Alright,” or mugging for the camera, rapping along.\u003c/p>\n\u003cp>“One day we will be all right,” he says. “Gotta keep fighting for that. The moment I don’t believe it’s gonna be all right, what am I fighting for?”\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>You can read the phrase “We gon’ be alright” as indicative of some distant future, where white supremacy and oppression are no longer a major concern — \u003cem>one day\u003c/em>, as Allen puts it. But maybe it can also mean something simpler, sooner. Something as small as coming home to your family.\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=Both+Party+And+Protest%2C+%27Alright%27+Is+The+Sound+Of+Black+Life%27s+Duality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865026/both-party-and-protest-alright-is-the-sound-of-black-lifes-duality",
"authors": [
"byline_arts_13865026"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_3156",
"arts_2767",
"arts_1774"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13865027",
"label": "arts_137"
},
"arts_13864955": {
"type": "posts",
"id": "arts_13864955",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864955",
"score": null,
"sort": [
1566920838000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566920838,
"format": "standard",
"title": "10 Things You Might As Well Know About The 2019 VMAs",
"headTitle": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"content": "\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\n\u003cp>https://youtu.be/i9I-ut1TXoA\u003c/p>\n\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Uo0RK_olDb4\u003c/p>\n\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\n\u003cp>https://youtu.be/eIRCskNRTDY\u003c/p>\n\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\n\u003cp>https://youtu.be/RQJGqgq7MeE\u003c/p>\n\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\n\u003cp>https://youtu.be/wC53WdkG44w\u003c/p>\n\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\n\u003cp>https://youtu.be/BjMQC_bnaNE\u003c/p>\n\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\n\u003cp>https://youtu.be/LBxTDp6Cpyg\u003c/p>\n\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">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=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1417,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 39
},
"modified": 1705022252,
"excerpt": "Monday night's MTV Video Music Awards brought lots of Taylor Swift and Missy Elliott, not to mention Lizzo, Normani, Lil Nas X, Rosalía and more.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Monday night's MTV Video Music Awards brought lots of Taylor Swift and Missy Elliott, not to mention Lizzo, Normani, Lil Nas X, Rosalía and more.",
"title": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "10 Things You Might As Well Know About The 2019 VMAs",
"datePublished": "2019-08-27T08:47:18-07:00",
"dateModified": "2024-01-11T17:17:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "10-things-you-might-as-well-know-about-the-2019-vmas",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=754587074&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 27 Aug 2019 01:46:00 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 27 Aug 2019 10:03:24 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/27/754587074/10-things-you-might-as-well-know-about-the-2019-vmas?ft=nprml&f=754587074",
"nprImageAgency": "AFP/Getty Images",
"nprStoryId": "754587074",
"nprByline": "Stephen Thompson",
"sticky": false,
"nprImageCredit": "Angela Weiss",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 27 Aug 2019 10:03:00 -0400",
"path": "/arts/13864955/10-things-you-might-as-well-know-about-the-2019-vmas",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\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/i9I-ut1TXoA'\n title='//www.youtube.com/embed/i9I-ut1TXoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\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/Uo0RK_olDb4'\n title='//www.youtube.com/embed/Uo0RK_olDb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\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/eIRCskNRTDY'\n title='//www.youtube.com/embed/eIRCskNRTDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\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/RQJGqgq7MeE'\n title='//www.youtube.com/embed/RQJGqgq7MeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\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/wC53WdkG44w'\n title='//www.youtube.com/embed/wC53WdkG44w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\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/BjMQC_bnaNE'\n title='//www.youtube.com/embed/BjMQC_bnaNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\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/LBxTDp6Cpyg'\n title='//www.youtube.com/embed/LBxTDp6Cpyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">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=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864955/10-things-you-might-as-well-know-about-the-2019-vmas",
"authors": [
"byline_arts_13864955"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_8417",
"arts_7164",
"arts_2767",
"arts_2519",
"arts_7108",
"arts_2968",
"arts_8416",
"arts_6012",
"arts_3026",
"arts_5422"
],
"featImg": "arts_13864956",
"label": "arts"
},
"arts_13864915": {
"type": "posts",
"id": "arts_13864915",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864915",
"score": null,
"sort": [
1566886388000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566886388,
"format": "standard",
"title": "The Liberated Pop Future Missy Elliott Envisioned is Now",
"headTitle": "The Liberated Pop Future Missy Elliott Envisioned is Now | KQED",
"content": "\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MTV/status/1166161090331500544?s=20\u003c/p>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\n\u003cp>https://twitter.com/LilNasX/status/1166193669302562823?s=20\u003c/p>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 777,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705022253,
"excerpt": "The diverse 2019 VMAs proved Missy Elliott's celebratory message of self-acceptance was decades ahead of its time.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The diverse 2019 VMAs proved Missy Elliott's celebratory message of self-acceptance was decades ahead of its time.",
"title": "The Liberated Pop Future Missy Elliott Envisioned is Now | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Liberated Pop Future Missy Elliott Envisioned is Now",
"datePublished": "2019-08-26T23:13:08-07:00",
"dateModified": "2024-01-11T17:17:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-liberated-pop-future-missy-elliott-envisioned-is-now",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1166161090331500544"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1166193669302562823"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now",
"authors": [
"11387"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_2767",
"arts_1118",
"arts_7108",
"arts_2968",
"arts_5422"
],
"featImg": "arts_13864919",
"label": "arts"
},
"arts_13864877": {
"type": "posts",
"id": "arts_13864877",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864877",
"score": null,
"sort": [
1566855261000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1566855261,
"format": "standard",
"title": "When Comic Art Meets High Art, the Results Will Surprise You",
"headTitle": "When Comic Art Meets High Art, the Results Will Surprise You | KQED",
"content": "\u003cp>There are two graphic novels out this summer about Jean-Michel Basquiat, and you’re definitely going to hate one of them. Which one? That’s harder to say. \u003ca href=\"https://www.npr.org/books/titles/753548833/basquiat\">Julian Voloj and Søren Mosdal’s \u003cem>Basquiat\u003c/em>\u003c/a> and Paolo Parisi’s \u003cem>Basquiat: A Graphic Novel\u003c/em> couldn’t be more different: Mosdal emulates the artist’s agitated lines, while Parisi uses flat zones of primary color, in the style of Basquiat’s mentor Andy Warhol. Aficionados will doubtless disagree about which book works—but that was probably inevitable. There’s something inherently odd about using one artistic tradition to depict the life (to say nothing of reproducing the work) of an artist from a different tradition. And yet, not only are a growing number of cartoonists creating books about famous artists, but their approaches are dizzyingly varied. When is a comic book a fitting tribute to an icon?\u003c/p>\n\u003cp>It’s a question that numerous publishers and creators are eager to address. Andy Warhol, Salvador Dalí, Jackson Pollock and Francis Bacon have all been memorialized in panel form in recent years. It’s not a stretch to use the quintessentially modern medium of comics to capture the life of a 20th-century artist; the free-flowing \u003ca href=\"https://www.npr.org/books/titles/753549304/niki-de-saint-phalle-the-garden-of-secrets\">\u003cem>Niki de Saint Phalle: The Garden of Secrets\u003c/em>, by Dominique Osuch and Sandrine Martin\u003c/a>, is a particularly ingenious tribute to an underappreciated figure. But even Velázquez, Caravaggio and Goya are getting cartoon treatments.\u003c/p>\n\u003cfigure id=\"attachment_13864881\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg\" alt=\"'This Is Monet' by Sara Pappworth and Aude Van Ryn.\" width=\"400\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85-160x210.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Monet’\u003cbr>by Sara Pappworth and Aude Van Ryn.\u003c/figcaption>\u003c/figure>\n\u003cp>The results of such attempts vary widely, but one rule is clear: Don’t reproduce the artist’s paintings if you can possibly get away with it. That’s the misstep of \u003ca href=\"https://www.npr.org/books/titles/753550360/monet-itinerant-of-light\">\u003cem>Monet: Itinerant of Light\u003c/em>, by Salva Rubio and Efa\u003c/a>. Efa envisions the world around Monet the way the artist would paint it, with vivid patches of light and dark dappling every scene. It makes for a beautiful book—that is, until you get to Efa’s recreations of Monet’s best-known paintings, which naturally suffer by comparison with the originals. In \u003cem>This Is Monet\u003c/em>, on the other hand, illustrator Aude Van Ryn doesn’t attempt to duplicate her subject’s famous works. Instead, the book intersperses color plates of the actual paintings with Van Ryn’s drawings of scenes from Monet’s life. (In one particularly charming interlude, the Monet family helps to carry canvases in a wheelbarrow). Van Ryn’s style is complementary without being imitative—a tough balancing act that Efa doesn’t pull off.\u003c/p>\n\u003cp>\u003cem>This Is Monet\u003c/em> is part of an unusual series from British publisher Laurence King that combines biographical text, reproductions and modern illustrations. “I wanted to be able to show, in illustrations, the pop culture that existed around the artists,” series editor Catherine Ingram says. “Even … Old Masters paintings, they’ve got a vibrant visual culture they’re tapping on. That visual culture is missing from art history books. It’s time to get back to that, to get the illustrators involved.”\u003c/p>\n\u003cfigure id=\"attachment_13864884\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864884 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg\" alt=\"'7 Miles a Second' by David Wojnarowicz, James Romberger and Marguerite Van Cook.\" width=\"400\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85-160x216.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘7 Miles a Second’\u003cbr>by David Wojnarowicz, James Romberger and Marguerite Van Cook.\u003c/figcaption>\u003c/figure>\n\u003cp>Some corners of the art world have always embraced comics, of course. In 1988, David Wojnarowicz asked his friend and fellow East Village artist James Romberger to collaborate with him on \u003cem>Seven Miles a Second,\u003c/em> an adaptation of Wojnarowicz’ autobiographical writings. Romberger, whose depictions of downtown New York life can be found in many museums’ collections, had to finish the book alone after Wojnarowicz died of AIDS in 1992. But he was aided by Marguerite Van Cook, who’d shown Wojnarowicz in her gallery, gone on road trips with him and had long discussions with him about color theory. Van Cook gave the book its explosive palette. (The book was reissued by Fantagraphics in 2013 and is now being self-published by Romberger and Van Cook.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Marguerite kind of lets things rush outside the lines,” Romberger says. “The color is running, smushing together—it’s not so defined. In comics the lines are usually… meant to hold in the color. Marguerite does something where the color is actually erupting outside of the lines, breaking the boundaries. Which kind of suits David, who’s someone who was very much against boundaries.”\u003c/p>\n\u003cp>\u003cem>Seven Miles a Second\u003c/em> remains a landmark crossover between comic art and fine art. It was a similar desire to bridge the high-low divide that led Boston’s Isabella Stewart Gardner Museum to incorporate comics into its spring Botticelli exhibit. The museum hired Karl Stevens, known for such graphic novels as 2010’s \u003cem>The Lodger\u003c/em> and last year’s \u003cem>The Winner\u003c/em>, to create cartoons of the Roman myths behind Botticelli’s \u003cem>The Tragedy of Lucretia\u003c/em> and \u003cem>The Story of Virginia.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13864885\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg\" alt=\"The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli's paintings.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85-160x120.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli’s paintings. \u003ccite>(David Matthews/Courtesy of the Isabella Stewart Gardner Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I thought one of the ways we could make Botticelli appealing to an audience who were not familiar with him was to approach these narrative paintings through the lens of a graphic novel,” says Nathaniel Silver, the William and Lia Poorvu Curator of the Collection at the museum. Stevens puts it a bit differently: “Museums have gotten tighter with cash, and they need to find ways to bring in the rabble.” Stevens believes the mainstream art world will always look down its nose at comics to some degree. Comic art, he notes, has “always been seen as an offshoot of commercial art, which it was originally. It was designed for the mass market. It wasn’t designed for elitist rich people, which is [who] fine art has always been for.”\u003c/p>\n\u003cp>That may explain the fascinating energy that infuses so many graphic novels about art. Illustrating artists’ lives through a lowbrow medium detaches them from their elevated creations and places them back on a human plane. Silver notes that while Stevens’ work on the Botticelli exhibit might seem humble, his position isn’t so different from what Botticelli’s was in his own time. Both then and now, Silver says, artists had to struggle to capture the attention of a broad, easily distractible audience.\u003c/p>\n\u003cp>“We tried to show how these stories were reinterpreted by Botticelli in his time to make them relevant to a contemporary audience in the Renaissance,” Silver says. “In the same way, they can be reinterpreted in our time, to make them relevant to a contemporary audience in 2019.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Comic+Art+Meets+High+Art%2C+the+Results+Will+Surprise+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1184,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705022256,
"excerpt": "In recent years, several graphic novel biographies of fine artists have come out—some more successful than others. One rule is clear: Don't reproduce an artist's paintings if you can avoid it.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In recent years, several graphic novel biographies of fine artists have come out—some more successful than others. One rule is clear: Don't reproduce an artist's paintings if you can avoid it.",
"title": "When Comic Art Meets High Art, the Results Will Surprise You | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When Comic Art Meets High Art, the Results Will Surprise You",
"datePublished": "2019-08-26T14:34:21-07:00",
"dateModified": "2024-01-11T17:17:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "when-comic-art-meets-high-art-the-results-will-surprise-you",
"status": "publish",
"templateType": "standard",
"nprByline": "ETELKA LEHOCZKY",
"featuredImageType": "standard",
"sticky": false,
"nprImageAgency": "Laurence King Publishing",
"path": "/arts/13864877/when-comic-art-meets-high-art-the-results-will-surprise-you",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two graphic novels out this summer about Jean-Michel Basquiat, and you’re definitely going to hate one of them. Which one? That’s harder to say. \u003ca href=\"https://www.npr.org/books/titles/753548833/basquiat\">Julian Voloj and Søren Mosdal’s \u003cem>Basquiat\u003c/em>\u003c/a> and Paolo Parisi’s \u003cem>Basquiat: A Graphic Novel\u003c/em> couldn’t be more different: Mosdal emulates the artist’s agitated lines, while Parisi uses flat zones of primary color, in the style of Basquiat’s mentor Andy Warhol. Aficionados will doubtless disagree about which book works—but that was probably inevitable. There’s something inherently odd about using one artistic tradition to depict the life (to say nothing of reproducing the work) of an artist from a different tradition. And yet, not only are a growing number of cartoonists creating books about famous artists, but their approaches are dizzyingly varied. When is a comic book a fitting tribute to an icon?\u003c/p>\n\u003cp>It’s a question that numerous publishers and creators are eager to address. Andy Warhol, Salvador Dalí, Jackson Pollock and Francis Bacon have all been memorialized in panel form in recent years. It’s not a stretch to use the quintessentially modern medium of comics to capture the life of a 20th-century artist; the free-flowing \u003ca href=\"https://www.npr.org/books/titles/753549304/niki-de-saint-phalle-the-garden-of-secrets\">\u003cem>Niki de Saint Phalle: The Garden of Secrets\u003c/em>, by Dominique Osuch and Sandrine Martin\u003c/a>, is a particularly ingenious tribute to an underappreciated figure. But even Velázquez, Caravaggio and Goya are getting cartoon treatments.\u003c/p>\n\u003cfigure id=\"attachment_13864881\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg\" alt=\"'This Is Monet' by Sara Pappworth and Aude Van Ryn.\" width=\"400\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85-160x210.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Monet’\u003cbr>by Sara Pappworth and Aude Van Ryn.\u003c/figcaption>\u003c/figure>\n\u003cp>The results of such attempts vary widely, but one rule is clear: Don’t reproduce the artist’s paintings if you can possibly get away with it. That’s the misstep of \u003ca href=\"https://www.npr.org/books/titles/753550360/monet-itinerant-of-light\">\u003cem>Monet: Itinerant of Light\u003c/em>, by Salva Rubio and Efa\u003c/a>. Efa envisions the world around Monet the way the artist would paint it, with vivid patches of light and dark dappling every scene. It makes for a beautiful book—that is, until you get to Efa’s recreations of Monet’s best-known paintings, which naturally suffer by comparison with the originals. In \u003cem>This Is Monet\u003c/em>, on the other hand, illustrator Aude Van Ryn doesn’t attempt to duplicate her subject’s famous works. Instead, the book intersperses color plates of the actual paintings with Van Ryn’s drawings of scenes from Monet’s life. (In one particularly charming interlude, the Monet family helps to carry canvases in a wheelbarrow). Van Ryn’s style is complementary without being imitative—a tough balancing act that Efa doesn’t pull off.\u003c/p>\n\u003cp>\u003cem>This Is Monet\u003c/em> is part of an unusual series from British publisher Laurence King that combines biographical text, reproductions and modern illustrations. “I wanted to be able to show, in illustrations, the pop culture that existed around the artists,” series editor Catherine Ingram says. “Even … Old Masters paintings, they’ve got a vibrant visual culture they’re tapping on. That visual culture is missing from art history books. It’s time to get back to that, to get the illustrators involved.”\u003c/p>\n\u003cfigure id=\"attachment_13864884\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864884 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg\" alt=\"'7 Miles a Second' by David Wojnarowicz, James Romberger and Marguerite Van Cook.\" width=\"400\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85-160x216.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘7 Miles a Second’\u003cbr>by David Wojnarowicz, James Romberger and Marguerite Van Cook.\u003c/figcaption>\u003c/figure>\n\u003cp>Some corners of the art world have always embraced comics, of course. In 1988, David Wojnarowicz asked his friend and fellow East Village artist James Romberger to collaborate with him on \u003cem>Seven Miles a Second,\u003c/em> an adaptation of Wojnarowicz’ autobiographical writings. Romberger, whose depictions of downtown New York life can be found in many museums’ collections, had to finish the book alone after Wojnarowicz died of AIDS in 1992. But he was aided by Marguerite Van Cook, who’d shown Wojnarowicz in her gallery, gone on road trips with him and had long discussions with him about color theory. Van Cook gave the book its explosive palette. (The book was reissued by Fantagraphics in 2013 and is now being self-published by Romberger and Van Cook.)\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>“Marguerite kind of lets things rush outside the lines,” Romberger says. “The color is running, smushing together—it’s not so defined. In comics the lines are usually… meant to hold in the color. Marguerite does something where the color is actually erupting outside of the lines, breaking the boundaries. Which kind of suits David, who’s someone who was very much against boundaries.”\u003c/p>\n\u003cp>\u003cem>Seven Miles a Second\u003c/em> remains a landmark crossover between comic art and fine art. It was a similar desire to bridge the high-low divide that led Boston’s Isabella Stewart Gardner Museum to incorporate comics into its spring Botticelli exhibit. The museum hired Karl Stevens, known for such graphic novels as 2010’s \u003cem>The Lodger\u003c/em> and last year’s \u003cem>The Winner\u003c/em>, to create cartoons of the Roman myths behind Botticelli’s \u003cem>The Tragedy of Lucretia\u003c/em> and \u003cem>The Story of Virginia.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13864885\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg\" alt=\"The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli's paintings.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85-160x120.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli’s paintings. \u003ccite>(David Matthews/Courtesy of the Isabella Stewart Gardner Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I thought one of the ways we could make Botticelli appealing to an audience who were not familiar with him was to approach these narrative paintings through the lens of a graphic novel,” says Nathaniel Silver, the William and Lia Poorvu Curator of the Collection at the museum. Stevens puts it a bit differently: “Museums have gotten tighter with cash, and they need to find ways to bring in the rabble.” Stevens believes the mainstream art world will always look down its nose at comics to some degree. Comic art, he notes, has “always been seen as an offshoot of commercial art, which it was originally. It was designed for the mass market. It wasn’t designed for elitist rich people, which is [who] fine art has always been for.”\u003c/p>\n\u003cp>That may explain the fascinating energy that infuses so many graphic novels about art. Illustrating artists’ lives through a lowbrow medium detaches them from their elevated creations and places them back on a human plane. Silver notes that while Stevens’ work on the Botticelli exhibit might seem humble, his position isn’t so different from what Botticelli’s was in his own time. Both then and now, Silver says, artists had to struggle to capture the attention of a broad, easily distractible audience.\u003c/p>\n\u003cp>“We tried to show how these stories were reinterpreted by Botticelli in his time to make them relevant to a contemporary audience in the Renaissance,” Silver says. “In the same way, they can be reinterpreted in our time, to make them relevant to a contemporary audience in 2019.”\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>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Comic+Art+Meets+High+Art%2C+the+Results+Will+Surprise+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864877/when-comic-art-meets-high-art-the-results-will-surprise-you",
"authors": [
"byline_arts_13864877"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_1564"
],
"tags": [
"arts_3752"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864878",
"label": "arts_137"
},
"arts_13864868": {
"type": "posts",
"id": "arts_13864868",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864868",
"score": null,
"sort": [
1566853623000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1566853623,
"format": "standard",
"title": "Kirsten Dunst is on Top of the Pyramid in 'On Becoming a God in Central Florida'",
"headTitle": "Kirsten Dunst is on Top of the Pyramid in ‘On Becoming a God in Central Florida’ | KQED",
"content": "\u003cp>Much of serialized television is made up of monster stories.\u003c/p>\n\u003cp>Sometimes it’s about a seemingly normal person being revealed as a monster, like on \u003cem>Breaking Bad\u003c/em>. Sometimes it’s a whole family of monsters in training, like on \u003cem>Succession\u003c/em>. In Showtime’s new series \u003cem>On Becoming A God In Central Florida\u003c/em>, the monster is a pyramid scheme called FAM.\u003c/p>\n\u003cp>FAM officially sells merchandise—toilet paper, cleaning products, cosmetics. But really, it sells signups. It sells the opportunity to sell the opportunity to sell, and like all pyramid schemes, it cannot possibly work as promised except for the lucky few who manage to be the exploiters and not the exploited.\u003c/p>\n\u003cp>Krystal Stubbs (Kirsten Dunst) is a struggling Florida mom working at a non-Disney water park in the early 1990s. Her husband Travis (Alexander Skarsgård) is trying to rise through the ranks of FAM. Travis was recruited by, and gets most of his support from, his helpful (?) “upline,” Cody (Théodore Pellerin). Cody, who appears at first glance to be a slick little worm, encourages Travis to quit his job and become a full-time FAM recruiter, all to Cody’s own benefit (not that he puts it this way to Travis). To say this plan doesn’t exactly work out for Travis would be an understatement, and when Travis winds up unable to deliver on the promise of riches and independence, it’s up to Krystal to step in, despite the fact that she’s pretty sure FAM is crooked at the core.\u003c/p>\n\u003cp>The highlight of the series is the performance from Dunst, who also shone as a very different schemer in the second season of \u003cem>Fargo\u003c/em> in 2015. Krystal is determined and resourceful without ever being, say, “plucky,” and Dunst plays much of the season carting a baby around through some very intense circumstances in a way that reminds the audience of the stakes for Krystal without looking like slapstick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the rest of the series is uneven. There are ten episodes in \u003cem>On Becoming A God\u003c/em>, and it would probably be stronger if there were six. The show is at its best when it stays with Krystal as she goes to war with a the wealthy crooks whose entire business plan is persuading poor people to take advantage of each other, promising good fortune that will never arrive. Krystal winds up entangling her kindhearted manager, Ernie (Mel Rodriguez), in FAM as well. The mess this creates for him and his wife Bets (musician Beth Ditto, who’s very good) helps to underscore the destructiveness of this company. So does the fact that Ernie’s most successful idea is to recruit those with even fewer prospects than he has: undocumented people who can’t work legally, but who are welcome to pay their money to sign up with FAM.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n41ZFrTQ53c\u003c/p>\n\u003cp>Eventually, Krystal comes to share the focus with Cody, who resembles one kind of jerk at the beginning and proves to be a different kind of jerk entirely—a weaker, more frightened, more desperate one. Pellerin is committed and funny, but the more Cody wanders around miserably from one manipulator to another, the less payoff there is. His character, limited as he is in intelligence and wit, can only go so far, and while he works wonderfully as an accessory to Krystal’s story, the parts of the show that turn him into a protagonist are much less successful.\u003c/p>\n\u003cp>But the biggest disappointment is that what begins as an incisive critique of a straight-up scam for money veers into a much broader, sillier critique of cults and woo-woo spirituality as Krystal explores more of FAM. The nickel-and-dime aspects of FAM selling cassette tapes and obsessing over your “downline” and your recruiting numbers feel fresh, but once you get to revival-style meetings and robes and birthing rituals, it feels a lot like a televangelist satire, more familiar and less cutting.\u003c/p>\n\u003cp>Going broader and broader in this case doesn’t feel like a natural progression; it honestly feels like an expansion of an idea that’s more like a movie in order to make it into a series. Krystal, Travis, the basics of FAM, the water park, Ernie, Bets—those elements feel like parts of the core idea. Hallucinations, visions, creepy assassins, mysterious rituals—that all feels tacked on.\u003c/p>\n\u003cp>\u003cem>On Becoming A God in Central Florida \u003c/em>has had a bumpy ride in which it was first being developed at AMC in 2017, then went to YouTube Premium before being picked up by Showtime. Whether the lumpiness of the season has anything to do with the somewhat arduous journey, we can’t know. But somewhere, the focus went fuzzy.\u003c/p>\n\u003cp>It’s too bad the show can’t quite stay at the level where it starts, because there’s a sharp point to be made here. All monsters feed on something, and FAM feeds on a combination of economic despair and the fetishization of wealth. The thesis of the best parts of this story is that being scammed is not a symptom of personal foolishness but of broad dysfunction that keeps ordinary people under constant threat of financial ruin while waving under their noses the idea that the goal is not security; it is extravagance without work. People don’t join FAM being promised only the traditionally defined “American dream” of home and family and cars and nice vacations. They join because they’re told they can be idle millionaires—even idle billionaires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It didn’t need so much cartoonish stuff around the edges; it just needed Krystal, facing down the fraudulent dream that took away her husband. That material, in Dunst’s hands, is very effective and engaging, and very funny. But like Krystal’s husband, it could have used a little more restraint.\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=Kirsten+Dunst+Is+On+Top+Of+The+Pyramid+In+%27On+Becoming+A+God+In+Central+Florida%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1022,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022258,
"excerpt": "Kirsten Dunst shines in Showtime's comedy-drama about a pyramid scheme and the weirdos who operate it.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Kirsten Dunst shines in Showtime's comedy-drama about a pyramid scheme and the weirdos who operate it.",
"title": "Kirsten Dunst is on Top of the Pyramid in 'On Becoming a God in Central Florida' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kirsten Dunst is on Top of the Pyramid in 'On Becoming a God in Central Florida'",
"datePublished": "2019-08-26T14:07:03-07:00",
"dateModified": "2024-01-11T17:17:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kirsten-dunst-is-on-top-of-the-pyramid-in-on-becoming-a-god-in-central-florida",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753726254&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 26 Aug 2019 05:01:22 -0400",
"nprLastModifiedDate": "Mon, 26 Aug 2019 05:01:22 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/26/753726254/kirsten-dunst-is-on-top-of-the-pyramid-in-on-becoming-a-god-in-central-florida?ft=nprml&f=753726254",
"nprImageAgency": "Sony/Showtime",
"nprStoryId": "753726254",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "Patty Perret",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 26 Aug 2019 05:01:00 -0400",
"path": "/arts/13864868/kirsten-dunst-is-on-top-of-the-pyramid-in-on-becoming-a-god-in-central-florida",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much of serialized television is made up of monster stories.\u003c/p>\n\u003cp>Sometimes it’s about a seemingly normal person being revealed as a monster, like on \u003cem>Breaking Bad\u003c/em>. Sometimes it’s a whole family of monsters in training, like on \u003cem>Succession\u003c/em>. In Showtime’s new series \u003cem>On Becoming A God In Central Florida\u003c/em>, the monster is a pyramid scheme called FAM.\u003c/p>\n\u003cp>FAM officially sells merchandise—toilet paper, cleaning products, cosmetics. But really, it sells signups. It sells the opportunity to sell the opportunity to sell, and like all pyramid schemes, it cannot possibly work as promised except for the lucky few who manage to be the exploiters and not the exploited.\u003c/p>\n\u003cp>Krystal Stubbs (Kirsten Dunst) is a struggling Florida mom working at a non-Disney water park in the early 1990s. Her husband Travis (Alexander Skarsgård) is trying to rise through the ranks of FAM. Travis was recruited by, and gets most of his support from, his helpful (?) “upline,” Cody (Théodore Pellerin). Cody, who appears at first glance to be a slick little worm, encourages Travis to quit his job and become a full-time FAM recruiter, all to Cody’s own benefit (not that he puts it this way to Travis). To say this plan doesn’t exactly work out for Travis would be an understatement, and when Travis winds up unable to deliver on the promise of riches and independence, it’s up to Krystal to step in, despite the fact that she’s pretty sure FAM is crooked at the core.\u003c/p>\n\u003cp>The highlight of the series is the performance from Dunst, who also shone as a very different schemer in the second season of \u003cem>Fargo\u003c/em> in 2015. Krystal is determined and resourceful without ever being, say, “plucky,” and Dunst plays much of the season carting a baby around through some very intense circumstances in a way that reminds the audience of the stakes for Krystal without looking like slapstick.\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>Unfortunately, the rest of the series is uneven. There are ten episodes in \u003cem>On Becoming A God\u003c/em>, and it would probably be stronger if there were six. The show is at its best when it stays with Krystal as she goes to war with a the wealthy crooks whose entire business plan is persuading poor people to take advantage of each other, promising good fortune that will never arrive. Krystal winds up entangling her kindhearted manager, Ernie (Mel Rodriguez), in FAM as well. The mess this creates for him and his wife Bets (musician Beth Ditto, who’s very good) helps to underscore the destructiveness of this company. So does the fact that Ernie’s most successful idea is to recruit those with even fewer prospects than he has: undocumented people who can’t work legally, but who are welcome to pay their money to sign up with FAM.\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/n41ZFrTQ53c'\n title='//www.youtube.com/embed/n41ZFrTQ53c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eventually, Krystal comes to share the focus with Cody, who resembles one kind of jerk at the beginning and proves to be a different kind of jerk entirely—a weaker, more frightened, more desperate one. Pellerin is committed and funny, but the more Cody wanders around miserably from one manipulator to another, the less payoff there is. His character, limited as he is in intelligence and wit, can only go so far, and while he works wonderfully as an accessory to Krystal’s story, the parts of the show that turn him into a protagonist are much less successful.\u003c/p>\n\u003cp>But the biggest disappointment is that what begins as an incisive critique of a straight-up scam for money veers into a much broader, sillier critique of cults and woo-woo spirituality as Krystal explores more of FAM. The nickel-and-dime aspects of FAM selling cassette tapes and obsessing over your “downline” and your recruiting numbers feel fresh, but once you get to revival-style meetings and robes and birthing rituals, it feels a lot like a televangelist satire, more familiar and less cutting.\u003c/p>\n\u003cp>Going broader and broader in this case doesn’t feel like a natural progression; it honestly feels like an expansion of an idea that’s more like a movie in order to make it into a series. Krystal, Travis, the basics of FAM, the water park, Ernie, Bets—those elements feel like parts of the core idea. Hallucinations, visions, creepy assassins, mysterious rituals—that all feels tacked on.\u003c/p>\n\u003cp>\u003cem>On Becoming A God in Central Florida \u003c/em>has had a bumpy ride in which it was first being developed at AMC in 2017, then went to YouTube Premium before being picked up by Showtime. Whether the lumpiness of the season has anything to do with the somewhat arduous journey, we can’t know. But somewhere, the focus went fuzzy.\u003c/p>\n\u003cp>It’s too bad the show can’t quite stay at the level where it starts, because there’s a sharp point to be made here. All monsters feed on something, and FAM feeds on a combination of economic despair and the fetishization of wealth. The thesis of the best parts of this story is that being scammed is not a symptom of personal foolishness but of broad dysfunction that keeps ordinary people under constant threat of financial ruin while waving under their noses the idea that the goal is not security; it is extravagance without work. People don’t join FAM being promised only the traditionally defined “American dream” of home and family and cars and nice vacations. They join because they’re told they can be idle millionaires—even idle billionaires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It didn’t need so much cartoonish stuff around the edges; it just needed Krystal, facing down the fraudulent dream that took away her husband. That material, in Dunst’s hands, is very effective and engaging, and very funny. But like Krystal’s husband, it could have used a little more restraint.\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=Kirsten+Dunst+Is+On+Top+Of+The+Pyramid+In+%27On+Becoming+A+God+In+Central+Florida%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864868/kirsten-dunst-is-on-top-of-the-pyramid-in-on-becoming-a-god-in-central-florida",
"authors": [
"byline_arts_13864868"
],
"categories": [
"arts_75",
"arts_990"
],
"tags": [
"arts_8404"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864869",
"label": "arts_137"
},
"arts_13864820": {
"type": "posts",
"id": "arts_13864820",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864820",
"score": null,
"sort": [
1566840969000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566840969,
"format": "standard",
"title": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows",
"headTitle": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows | KQED",
"content": "\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>[aside tag='latinx,latino,bilingual' label='More Stories For You']\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 435,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022261,
"excerpt": "The USC Annenberg Inclusion Initiative released a report showing how Latino representation in film lags significantly behind the U.S. population and that the number of Latino characters in movies is virtually unchanged over the last decade.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The USC Annenberg Inclusion Initiative released a report showing how Latino representation in film lags significantly behind the U.S. population and that the number of Latino characters in movies is virtually unchanged over the last decade.",
"title": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows",
"datePublished": "2019-08-26T10:36:09-07:00",
"dateModified": "2024-01-11T17:17:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "only-4-5-speaking-roles-in-hollywood-go-to-latino-actors-study-shows",
"status": "publish",
"nprByline": "Jake Coyle, Associated Press",
"sticky": false,
"path": "/arts/13864820/only-4-5-speaking-roles-in-hollywood-go-to-latino-actors-study-shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"tag": "latinx,latino,bilingual",
"label": "More Stories For You "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864820/only-4-5-speaking-roles-in-hollywood-go-to-latino-actors-study-shows",
"authors": [
"byline_arts_13864820"
],
"categories": [
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_977",
"arts_8393",
"arts_1256",
"arts_5747",
"arts_596",
"arts_8394"
],
"featImg": "arts_13864823",
"label": "arts"
},
"arts_13864805": {
"type": "posts",
"id": "arts_13864805",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864805",
"score": null,
"sort": [
1566837488000
]
},
"guestAuthors": [],
"slug": "hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-life",
"title": "'Hair Love' Uses Animation To Bring A Story Of Natural Hair In Black Families To Life",
"publishDate": 1566837488,
"format": "standard",
"headTitle": "‘Hair Love’ Uses Animation To Bring A Story Of Natural Hair In Black Families To Life | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\u003c/p>\n\u003cp>https://youtu.be/qI7Jla3UgSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do Zuri's glorious natural hair.",
"status": "publish",
"parent": 0,
"modified": 1726766326,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 687
},
"headData": {
"title": "'Hair Love' Uses Animation To Bring A Story Of Natural Hair In Black Families To Life | KQED",
"description": "Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do Zuri's glorious natural hair.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hair Love' Uses Animation To Bring A Story Of Natural Hair In Black Families To Life",
"datePublished": "2019-08-26T09:38:08-07:00",
"dateModified": "2024-09-19T10:18:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Michel Martin",
"nprImageAgency": "Courtesy of Sony Pictures Animation",
"nprStoryId": "754160144",
"nprApiLink": "http://api.npr.org/query?id=754160144&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/08/25/754160144/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-l?ft=nprml&f=754160144",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 25 Aug 2019 16:30:00 -0400",
"nprStoryDate": "Sun, 25 Aug 2019 14:26:00 -0400",
"nprLastModifiedDate": "Sun, 25 Aug 2019 16:30:56 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/08/20190824_atc_movie_hair_love.mp3?orgId=1&topicId=1008&d=447&story=754160144&ft=nprml&f=754160144",
"nprAudioM3u": "http://api.npr.org/m3u/1754175807-bec0d5.m3u?orgId=1&topicId=1008&d=447&story=754160144&ft=nprml&f=754160144",
"audioTrackLength": 447,
"path": "/arts/13864805/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-life",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/08/20190824_atc_movie_hair_love.mp3?orgId=1&topicId=1008&d=447&story=754160144&ft=nprml&f=754160144",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\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/qI7Jla3UgSE'\n title='//www.youtube.com/embed/qI7Jla3UgSE'\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>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864805/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-life",
"authors": [
"byline_arts_13864805"
],
"categories": [
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_4262",
"arts_1118",
"arts_8390",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864806",
"label": "arts_137"
},
"arts_13864799": {
"type": "posts",
"id": "arts_13864799",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864799",
"score": null,
"sort": [
1566684188000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1566684188,
"format": "standard",
"title": "'90s Kids, Rejoice: 'Invader Zim,' a Cult-Classic Nicktoon, Returns",
"headTitle": "’90s Kids, Rejoice: ‘Invader Zim,’ a Cult-Classic Nicktoon, Returns | KQED",
"content": "\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TDnKp83IOPA\u003c/p>\n\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v92Ql8p8-EM\u003c/p>\n\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\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=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1389,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705022264,
"excerpt": "Eighteen years after the short-lived series premiered, 'Invader Zim' is back with a one-off special that lacks the edge of the show's best episodes, but recalls what made it so fun. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Eighteen years after the short-lived series premiered, 'Invader Zim' is back with a one-off special that lacks the edge of the show's best episodes, but recalls what made it so fun. ",
"title": "'90s Kids, Rejoice: 'Invader Zim,' a Cult-Classic Nicktoon, Returns | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'90s Kids, Rejoice: 'Invader Zim,' a Cult-Classic Nicktoon, Returns",
"datePublished": "2019-08-24T15:03:08-07:00",
"dateModified": "2024-01-11T17:17:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "90s-kids-rejoice-invader-zim-a-cult-classic-nicktoon-returns",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753411973&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Vincent Acovino",
"nprStoryDate": "Fri, 23 Aug 2019 05:01:04 -0400",
"nprLastModifiedDate": "Fri, 23 Aug 2019 09:48:56 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/08/23/753411973/90s-kids-rejoice-invader-zim-a-cult-classic-nicktoon-returns?ft=nprml&f=753411973",
"nprImageAgency": "Netflix",
"nprStoryId": "753411973",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 23 Aug 2019 09:48:00 -0400",
"path": "/arts/13864799/90s-kids-rejoice-invader-zim-a-cult-classic-nicktoon-returns",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\u003c/em>\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/TDnKp83IOPA'\n title='//www.youtube.com/embed/TDnKp83IOPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\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 \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\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/v92Ql8p8-EM'\n title='//www.youtube.com/embed/v92Ql8p8-EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\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=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864799/90s-kids-rejoice-invader-zim-a-cult-classic-nicktoon-returns",
"authors": [
"byline_arts_13864799"
],
"categories": [
"arts_75",
"arts_990"
],
"tags": [
"arts_4262",
"arts_8086"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864800",
"label": "arts_137"
},
"arts_13864725": {
"type": "posts",
"id": "arts_13864725",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864725",
"score": null,
"sort": [
1566585670000
]
},
"guestAuthors": [],
"slug": "look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog",
"title": "Look What They Made Her Do: Taylor Swift To Re-Record Her Catalog",
"publishDate": 1566585670,
"format": "standard",
"headTitle": "Look What They Made Her Do: Taylor Swift To Re-Record Her Catalog | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\u003c/p>\n\u003cp>https://youtu.be/ellK-CXh7B4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\n\u003cp>https://twitter.com/kellyclarkson/status/1150168164853882880\u003c/p>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "The pop star said Thursday she plans to record new versions of her self-titled album, \u003cem>Fearless\u003c/em>, \u003cem>Speak Now\u003c/em>, \u003cem>Red\u003c/em> and \u003cem>1989\u003c/em>.",
"status": "publish",
"parent": 0,
"modified": 1726704516,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 795
},
"headData": {
"title": "Look What They Made Her Do: Taylor Swift To Re-Record Her Catalog | KQED",
"description": "The pop star said Thursday she plans to record new versions of her self-titled album, Fearless, Speak Now, Red and 1989.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Look What They Made Her Do: Taylor Swift To Re-Record Her Catalog",
"datePublished": "2019-08-23T11:41:10-07:00",
"dateModified": "2024-09-18T17:08:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13864725/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\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/ellK-CXh7B4'\n title='//www.youtube.com/embed/ellK-CXh7B4'\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>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1150168164853882880"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864725/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog",
"authors": [
"92"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_596",
"arts_3026"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864746",
"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": 1644,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2976,
"relation": "eq"
},
"items": [
"arts_13865537",
"arts_13865363",
"arts_13864931",
"arts_13865026",
"arts_13864955",
"arts_13864915",
"arts_13864877",
"arts_13864868",
"arts_13864820",
"arts_13864805",
"arts_13864799",
"arts_13864725"
],
"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"
},
"arts_6117": {
"type": "terms",
"id": "arts_6117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drake",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drake Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6129,
"slug": "drake",
"isLoading": false,
"link": "/arts/tag/drake"
},
"arts_8238": {
"type": "terms",
"id": "arts_8238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "India",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "India Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8250,
"slug": "india",
"isLoading": false,
"link": "/arts/tag/india"
},
"arts_8491": {
"type": "terms",
"id": "arts_8491",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8491",
"found": true
},
"relationships": {},
"featImg": null,
"name": "viral video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "viral video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8503,
"slug": "viral-video",
"isLoading": false,
"link": "/arts/tag/viral-video"
},
"arts_4554": {
"type": "terms",
"id": "arts_4554",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4554",
"found": true
},
"relationships": {},
"featImg": null,
"name": "youtube",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "youtube Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4566,
"slug": "youtube",
"isLoading": false,
"link": "/arts/tag/youtube"
},
"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_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_8482": {
"type": "terms",
"id": "arts_8482",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8482",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ABC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ABC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8494,
"slug": "abc",
"isLoading": false,
"link": "/arts/tag/abc"
},
"arts_2210": {
"type": "terms",
"id": "arts_2210",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2210",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Amazon",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Amazon Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2222,
"slug": "amazon",
"isLoading": false,
"link": "/arts/tag/amazon"
},
"arts_8481": {
"type": "terms",
"id": "arts_8481",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8481",
"found": true
},
"relationships": {},
"featImg": null,
"name": "CBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "CBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8493,
"slug": "cbs",
"isLoading": false,
"link": "/arts/tag/cbs"
},
"arts_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_8480": {
"type": "terms",
"id": "arts_8480",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8480",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8492,
"slug": "nbc",
"isLoading": false,
"link": "/arts/tag/nbc"
},
"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"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_8404": {
"type": "terms",
"id": "arts_8404",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8404",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Showtime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Showtime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8416,
"slug": "showtime",
"isLoading": false,
"link": "/arts/tag/showtime"
},
"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_6226": {
"type": "terms",
"id": "arts_6226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6226",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cardi b",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cardi b Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6238,
"slug": "cardi-b",
"isLoading": false,
"link": "/arts/tag/cardi-b"
},
"arts_2519": {
"type": "terms",
"id": "arts_2519",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2519",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latin music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latin music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2531,
"slug": "latin-music",
"isLoading": false,
"link": "/arts/tag/latin-music"
},
"arts_1256": {
"type": "terms",
"id": "arts_1256",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1256",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1268,
"slug": "latino",
"isLoading": false,
"link": "/arts/tag/latino"
},
"arts_5747": {
"type": "terms",
"id": "arts_5747",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latinx",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latinx Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5759,
"slug": "latinx",
"isLoading": false,
"link": "/arts/tag/latinx"
},
"arts_8416": {
"type": "terms",
"id": "arts_8416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mtv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mtv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8428,
"slug": "mtv",
"isLoading": false,
"link": "/arts/tag/mtv"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_4244": {
"type": "terms",
"id": "arts_4244",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4244",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Puerto Rico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Puerto Rico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4256,
"slug": "puerto-rico",
"isLoading": false,
"link": "/arts/tag/puerto-rico"
},
"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_4136": {
"type": "terms",
"id": "arts_4136",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4136",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Spotify",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Spotify Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4148,
"slug": "spotify",
"isLoading": false,
"link": "/arts/tag/spotify"
},
"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_3156": {
"type": "terms",
"id": "arts_3156",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3156",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Lives Matter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Lives Matter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3168,
"slug": "black-lives-matter",
"isLoading": false,
"link": "/arts/tag/black-lives-matter"
},
"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_1774": {
"type": "terms",
"id": "arts_1774",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1774",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kendrick lamar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kendrick lamar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1786,
"slug": "kendrick-lamar",
"isLoading": false,
"link": "/arts/tag/kendrick-lamar"
},
"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_7164": {
"type": "terms",
"id": "arts_7164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "billie eilish",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "billie eilish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7176,
"slug": "billie-eilish",
"isLoading": false,
"link": "/arts/tag/billie-eilish"
},
"arts_7108": {
"type": "terms",
"id": "arts_7108",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7108",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lil nas x",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lil nas x Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7120,
"slug": "lil-nas-x",
"isLoading": false,
"link": "/arts/tag/lil-nas-x"
},
"arts_2968": {
"type": "terms",
"id": "arts_2968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lizzo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lizzo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2980,
"slug": "lizzo",
"isLoading": false,
"link": "/arts/tag/lizzo"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"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_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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_3752": {
"type": "terms",
"id": "arts_3752",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3752",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Andy Warhol",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Andy Warhol Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3764,
"slug": "andy-warhol",
"isLoading": false,
"link": "/arts/tag/andy-warhol"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_8393": {
"type": "terms",
"id": "arts_8393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hollywood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hollywood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8405,
"slug": "hollywood",
"isLoading": false,
"link": "/arts/tag/hollywood"
},
"arts_8394": {
"type": "terms",
"id": "arts_8394",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8394",
"found": true
},
"relationships": {},
"featImg": null,
"name": "representation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "representation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8406,
"slug": "representation",
"isLoading": false,
"link": "/arts/tag/representation"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_8390": {
"type": "terms",
"id": "arts_8390",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8390",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Matthew A. Cherry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Matthew A. Cherry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8402,
"slug": "matthew-a-cherry",
"isLoading": false,
"link": "/arts/tag/matthew-a-cherry"
},
"arts_8086": {
"type": "terms",
"id": "arts_8086",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8086",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cartoons",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cartoons Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8098,
"slug": "cartoons",
"isLoading": false,
"link": "/arts/tag/cartoons"
}
},
"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
}
}
