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_13862540": {
"type": "attachments",
"id": "arts_13862540",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862540",
"found": true
},
"parent": 13862536,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/katyperry-darkhorse-1920-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564519758,
"modified": 1564519827,
"caption": "Katy Perry, songwriter Sarah Hudson and Juicy J as well as producers Dr. Luke, Max Martin and Cirkut were all ruled to be liable for copyright infringement in a Los Angeles court on July 29.",
"description": "Katy Perry, songwriter Sarah Hudson and Juicy J as well as producers Dr. Luke, Max Martin and Cirkut were all ruled to be liable for copyright infringement in a Los Angeles court on July 29.",
"title": "katyperry-darkhorse-1920",
"credit": "Kay Perry / YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862434": {
"type": "attachments",
"id": "arts_13862434",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862434",
"found": true
},
"parent": 13862433,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-e1564428580720.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1157875689_wide-b19e254bf1480db1958cfbddad6a8b1eb7bd4bb6-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564428520,
"modified": 1564428592,
"caption": "Lil Nas X and Billy Ray Cyrus perform onstage at the 2019 BET Awards.",
"description": "Lil Nas X and Billy Ray Cyrus perform onstage at the 2019 BET Awards.",
"title": "Lil Nas X and Billy Ray Cyrus perform onstage at the 2019 BET Awards.",
"credit": "Leon Bennett/Getty Images for BET",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862351": {
"type": "attachments",
"id": "arts_13862351",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862351",
"found": true
},
"parent": 13862313,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/Jet-AmericanIcon-1920-GettyImages-450349682-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1564182150,
"modified": 1564182214,
"caption": "The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost. But it's also causing some to mourn the fact that the prints won't fully be in the hands of an African American-owned entity.",
"description": "The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost. But it's also causing some to mourn the fact that the prints won't fully be in the hands of an African American-owned entity.",
"title": "Jet-AmericanIcon-1920-GettyImages-450349682",
"credit": "Scott Olson/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862259": {
"type": "attachments",
"id": "arts_13862259",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862259",
"found": true
},
"parent": 13862258,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959.jpg",
"width": 1376,
"height": 917
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mikewallace_slide-464d6fbf584dd852cec0139d579e4426fb9dd959-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1564157295,
"modified": 1564157344,
"caption": "'Mike Wallace is Here' features decades of never-before-seen footage from the 60 Minutes vault.\n",
"description": "'Mike Wallace is Here' features decades of never-before-seen footage from the 60 Minutes vault.\n",
"title": "Mike Wallace is Here features decades of never-before-seen footage from the 60 Minutes vault.",
"credit": "Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13861872": {
"type": "attachments",
"id": "arts_13861872",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13861872",
"found": true
},
"parent": 13861870,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley.jpg",
"width": 1100,
"height": 618
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/HanksRoger.trolley-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
}
},
"publishDate": 1563811142,
"modified": 1563811182,
"caption": "Tom Hanks as Mr. Rogers in the trailer to the film 'A Beautiful Day in the Neighborhood.'",
"description": "Tom Hanks as Mr. Rogers in the trailer to the film 'A Beautiful Day in the Neighborhood.'",
"title": "HanksRoger.trolley",
"credit": "Sony",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13832894": {
"type": "attachments",
"id": "arts_13832894",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13832894",
"found": true
},
"parent": 13832886,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/703A5088-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1526931755,
"modified": 1563557488,
"caption": "Hundreds of black Oaklanders and their supporters came to \"BBQ'n While Black\" at Lake Merritt on May 20, 2018, following a white woman's racially charged police complaint.",
"description": "Black Oaklanders and supporters gather for BBQ'n While Black on May 20, a BBQ-protest sparked by a white woman's racially charged police complaint that went viral.",
"title": "703A5088",
"credit": "Kevin Allen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13861584": {
"type": "attachments",
"id": "arts_13861584",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13861584",
"found": true
},
"parent": 13861583,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-e1563389583514.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/the-farewell-group-table-final_courtesy-of-a24_wide-e613cf5df61b0a2c72fb539198d087a23f91b1a8-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1563389297,
"modified": 1563389613,
"caption": "When her grandmother is diagnosed with a terminal illness, Billi (played by Awkwafina, center) reluctantly agrees to go along with her family's plan to pay respects to their matriarch — without letting her know she is dying.",
"description": "When her grandmother is diagnosed with a terminal illness, Billi (played by Awkwafina, center) reluctantly agrees to go along with her family's plan to pay respects to their matriarch -- without letting her know she is dyin",
"title": "When her grandmother is diagnosed with a terminal illness, Billi (played by Awkwafina, center) reluctantly agrees to go along with her family's plan to pay respects to their matriarch — without letting her know she is dying.",
"credit": "A24",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13861494": {
"type": "attachments",
"id": "arts_13861494",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13861494",
"found": true
},
"parent": 13861492,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-160x89.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 89
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208.jpg",
"width": 1920,
"height": 1069
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-1020x568.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 568
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-1200x668.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 668
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-1920x1069.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1069
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-800x445.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 445
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-946418208-768x428.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 428
}
},
"publishDate": 1563301523,
"modified": 1563305032,
"caption": " Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California.",
"description": " Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California.",
"title": "GettyImages-946418208",
"credit": "Photo by Larry Busacca/Getty Images for Coachella",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13861313": {
"type": "attachments",
"id": "arts_13861313",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13861313",
"found": true
},
"parent": 13861201,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1.jpg",
"width": 1100,
"height": 619
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1562968055,
"modified": 1562968074,
"caption": "Dolly Parton in a scene from the 1980 comedy 9 to 5. The film's theme song, performed by Parton, took on a life of its own.\n",
"description": "Dolly Parton in a scene from the 1980 comedy 9 to 5. The film's theme song, performed by Parton, took on a life of its own.\n",
"title": "gettyimages-159836102_wide-b08b78599a13a092ba3408dc5f75d0053d7e182c-s1100-c15 (1)",
"credit": "20th Century Fox/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13861068": {
"type": "attachments",
"id": "arts_13861068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13861068",
"found": true
},
"parent": 13861067,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6.jpg",
"width": 1976,
"height": 1482
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-109577287-c1dee6f93dbf7da56242032d6eb048c33b4bb8f6-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1562778172,
"modified": 1562778668,
"caption": "Rip Torn during the 2005 Sundance Film Festival. On Tuesday, Torn died at age 88.",
"description": "Rip Torn during the 2005 Sundance Film Festival. On Tuesday, Torn died at age 88.",
"title": "Rip Torn during the 2005 Sundance Film Festival. On Tuesday, Torn died at age 88.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13860984": {
"type": "attachments",
"id": "arts_13860984",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13860984",
"found": true
},
"parent": 13860983,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-e1562696046506.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/dsc08502_wide-5592a1159ed4fec5309f7f88ea3e556309d9c91b-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1562695895,
"modified": 1562696067,
"caption": "\"I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds,\" says clothier Dapper Dan.",
"description": "\"I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds,\" says clothier Dapper Dan.",
"title": "\"I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds,\" says clothier Dapper Dan.",
"credit": "Jelani Day/Dapper Dan of Harlem",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13860780": {
"type": "attachments",
"id": "arts_13860780",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13860780",
"found": true
},
"parent": 13860779,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-e1562261946561.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/mad_mag-719551e341aebdf8a3e662cdb7f3439d528f3bf7-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1562261871,
"modified": 1562261966,
"caption": "A 2018 exhibit at the Billy Ireland Cartoon Library & Museum at Ohio State University celebrated the artistic legacy of MAD magazine.",
"description": "A 2018 exhibit at the Billy Ireland Cartoon Library",
"title": "A 2018 exhibit at the Billy Ireland Cartoon Library & Museum at Ohio State University celebrated the artistic legacy of MAD magazine.",
"credit": "Andrew Welsh-Huggins/AP",
"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_13862536": {
"type": "authors",
"id": "byline_arts_13862536",
"meta": {
"override": true
},
"slug": "byline_arts_13862536",
"name": "Sidney Madden",
"isLoading": false
},
"byline_arts_13862433": {
"type": "authors",
"id": "byline_arts_13862433",
"meta": {
"override": true
},
"slug": "byline_arts_13862433",
"name": "Emily Abshire",
"isLoading": false
},
"byline_arts_13862313": {
"type": "authors",
"id": "byline_arts_13862313",
"meta": {
"override": true
},
"slug": "byline_arts_13862313",
"name": "Russell Contreras and Sally Ho, Associated Press",
"isLoading": false
},
"byline_arts_13862258": {
"type": "authors",
"id": "byline_arts_13862258",
"meta": {
"override": true
},
"slug": "byline_arts_13862258",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13861583": {
"type": "authors",
"id": "byline_arts_13861583",
"meta": {
"override": true
},
"slug": "byline_arts_13861583",
"name": "Justin Chang",
"isLoading": false
},
"byline_arts_13861492": {
"type": "authors",
"id": "byline_arts_13861492",
"meta": {
"override": true
},
"slug": "byline_arts_13861492",
"name": "Mesfin Fekadu, Associated Press",
"isLoading": false
},
"byline_arts_13861201": {
"type": "authors",
"id": "byline_arts_13861201",
"meta": {
"override": true
},
"slug": "byline_arts_13861201",
"name": "Lynn Neary",
"isLoading": false
},
"byline_arts_13861067": {
"type": "authors",
"id": "byline_arts_13861067",
"meta": {
"override": true
},
"slug": "byline_arts_13861067",
"name": "Bobby Allyn",
"isLoading": false
},
"byline_arts_13860983": {
"type": "authors",
"id": "byline_arts_13860983",
"meta": {
"override": true
},
"slug": "byline_arts_13860983",
"name": "Audie Cornish",
"isLoading": false
},
"byline_arts_13860779": {
"type": "authors",
"id": "byline_arts_13860779",
"meta": {
"override": true
},
"slug": "byline_arts_13860779",
"name": "Neda Ulaby",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.408728
},
"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": 143
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 143
}
},
{
"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_13862536": {
"type": "posts",
"id": "arts_13862536",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862536",
"score": null,
"sort": [
1564520139000
]
},
"guestAuthors": [],
"slug": "katy-perry-juicy-j-and-dr-luke-liable-for-copyright-infringement-for-dark-horse",
"title": "Katy Perry, Juicy J And Dr. Luke Liable For Copyright Infringement For 'Dark Horse'",
"publishDate": 1564520139,
"format": "standard",
"headTitle": "Katy Perry, Juicy J And Dr. Luke Liable For Copyright Infringement For ‘Dark Horse’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\u003c/p>\n\u003cp>https://youtu.be/0KSOMA3QBU0\u003c/p>\n\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\u003c/p>\n\u003cp>https://youtu.be/QCcW-guAs_s\u003c/p>\n\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In a unanimous decision delivered July 29, a jury ruled Katy Perry's 2013 hit \"Dark Horse\" improperly copied the 2009 Christian rap song \"Joyful Noise.\"",
"status": "publish",
"parent": 0,
"modified": 1726704559,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 347
},
"headData": {
"title": "Katy Perry, Juicy J And Dr. Luke Liable For Copyright Infringement For 'Dark Horse' | KQED",
"description": "In a unanimous decision delivered July 29, a jury ruled Katy Perry's 2013 hit "Dark Horse" improperly copied the 2009 Christian rap song "Joyful Noise."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Katy Perry, Juicy J And Dr. Luke Liable For Copyright Infringement For 'Dark Horse'",
"datePublished": "2019-07-30T13:55:39-07:00",
"dateModified": "2024-09-18T17:09:19-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Frazer Harrison",
"nprByline": "Sidney Madden",
"nprImageAgency": "Getty Images",
"nprStoryId": "746492563",
"nprApiLink": "http://api.npr.org/query?id=746492563&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/30/746492563/katy-perry-juicy-j-and-dr-luke-liable-for-copyright-infringement-in-dark-horse?ft=nprml&f=746492563",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 30 Jul 2019 13:06:00 -0400",
"nprStoryDate": "Tue, 30 Jul 2019 06:29:00 -0400",
"nprLastModifiedDate": "Tue, 30 Jul 2019 13:06:45 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190730_me_hr1_return-dg.mp3?orgId=1&topicId=1106&d=27&p=3&story=746492563&ft=nprml&f=746492563",
"nprAudioM3u": "http://api.npr.org/m3u/1746492564-222ea9.m3u?orgId=1&topicId=1106&d=27&p=3&story=746492563&ft=nprml&f=746492563",
"audioTrackLength": 27,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13862536/katy-perry-juicy-j-and-dr-luke-liable-for-copyright-infringement-for-dark-horse",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190730_me_hr1_return-dg.mp3?orgId=1&topicId=1106&d=27&p=3&story=746492563&ft=nprml&f=746492563",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\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/0KSOMA3QBU0'\n title='//www.youtube.com/embed/0KSOMA3QBU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\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/QCcW-guAs_s'\n title='//www.youtube.com/embed/QCcW-guAs_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862536/katy-perry-juicy-j-and-dr-luke-liable-for-copyright-infringement-for-dark-horse",
"authors": [
"byline_arts_13862536"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_746",
"arts_596",
"arts_6012"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862540",
"label": "arts_137"
},
"arts_13862433": {
"type": "posts",
"id": "arts_13862433",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862433",
"score": null,
"sort": [
1564429080000
]
},
"guestAuthors": [],
"slug": "lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history",
"title": "Lil Nas X Lassos The Record For Longest-Running No. 1 Song In U.S. Chart History",
"publishDate": 1564429080,
"format": "standard",
"headTitle": "Lil Nas X Lassos The Record For Longest-Running No. 1 Song In U.S. Chart History | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>[aside postID='arts_13859988' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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 song's now-unparalleled success is, more than anything else, a pure expression of how the Internet is now everything. Welcome to the future, y'all.",
"status": "publish",
"parent": 0,
"modified": 1726766576,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 792
},
"headData": {
"title": "Lil Nas X Lassos The Record For Longest-Running No. 1 Song In U.S. Chart History | KQED",
"description": "The song's now-unparalleled success is, more than anything else, a pure expression of how the Internet is now everything. Welcome to the future, y'all.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lil Nas X Lassos The Record For Longest-Running No. 1 Song In U.S. Chart History",
"datePublished": "2019-07-29T12:38:00-07:00",
"dateModified": "2024-09-19T10:22:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Leon Bennett",
"nprByline": "Emily Abshire",
"nprImageAgency": "Getty Images for BET",
"nprStoryId": "746200139",
"nprApiLink": "http://api.npr.org/query?id=746200139&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/29/746200139/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history?ft=nprml&f=746200139",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 29 Jul 2019 14:49:00 -0400",
"nprStoryDate": "Mon, 29 Jul 2019 14:22:00 -0400",
"nprLastModifiedDate": "Mon, 29 Jul 2019 14:49:35 -0400",
"path": "/arts/13862433/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854359",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13859988",
"hero": "https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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/13862433/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history",
"authors": [
"byline_arts_13862433"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_7534",
"arts_7108",
"arts_596",
"arts_8017"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862434",
"label": "arts_137"
},
"arts_13862313": {
"type": "posts",
"id": "arts_13862313",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862313",
"score": null,
"sort": [
1564239614000
]
},
"guestAuthors": [],
"slug": "sale-of-ebony-and-jet-photo-archives-sparks-both-relief-and-anxiety",
"title": "Sale of Ebony and Jet Photo Archives Sparks Both Relief and Anxiety",
"publishDate": 1564239614,
"format": "standard",
"headTitle": "Sale of Ebony and Jet Photo Archives Sparks Both Relief and Anxiety | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost.\u003c/p>\n\u003cp>But it’s also causing some to mourn since the images, including photos of Emmett Till in 1955 after he was killed and ones documenting the rise of the Rev. Martin Luther King Jr., won’t fully be in the hands an African American-owned entity. Ebony and Jet, for more than half a century, stood as the epitome of black-owned business.\u003c/p>\n\u003cp>“You have to do what you have to do,” Roy Douglas Malonson, publisher of the Houston-based \u003ca href=\"https://aframnews.com/\">African American News & Issues\u003c/a> newspaper, said. “But it’s sad because we lose control forever.”\u003c/p>\n\u003cp>The Ford Foundation, the John D. and Catherine T. McArthur Foundation, The J. Paul Getty Trust and the Andrew W. Mellon Foundation are buying the archive for $30 million as part of an auction to pay off secured creditors of Johnson Publishing Company.\u003c/p>\n\u003cp>[aside postID='arts_13854692' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png' target='_blank']\u003c/p>\n\u003cp>Chicago-based Johnson Publishing, the owner of the archives and former publisher of the magazines, filed for Chapter 7 bankruptcy protection in April.\u003c/p>\n\u003cp>The foundations plan to donate the more than 4 million prints and negatives to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cp>The deal was shepherded by the presidents of the Ford and Mellon foundations. The two are among the nonprofit sector’s most prominent black leaders and are themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Darren Walker and Elizabeth Alexander said the sale was important to them personally as African Americans.\u003c/p>\n\u003cp>“What it means to be in a position to be able to be helpful in safeguarding this treasure and our shared history overwhelms me with joy,” Alexander said. “It is very significant.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Adrienne Samuels Gibbs, a former staff of \u003cem>Ebony\u003c/em> magazine'] “It wasn’t about all poverty and suffering. It was about joy.”[/pullquote]\u003c/p>\n\u003cp>Besides black newspapers in cities across the nation, few media outlets dedicated resources to cover events and people connected to African American lifestyle and news as Ebony and Jet magazines. Ebony began publishing regularly just after the end of World War II while the smaller-sized Jet began in 1951 when African Americans in many regions still lived under racial segregation.\u003c/p>\n\u003cp>Adrienne Samuels Gibbs, a former Ebony magazine staffer, said Ebony and Jet dutifully captured the environment that African Americans were forced to endure over the years.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Miles Davis, Muhammad Ali, Nina Simone, and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photo of the open coffin of Emmett Till, showing the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>Gibbs said the photos also show everyday black life — from children playing in city parks to elders praying at rural churches.\u003c/p>\n\u003cp>“It wasn’t about all poverty and suffering. It was about joy,” Gibbs said.\u003c/p>\n\u003cp>[aside postID='arts_13862274' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Jet_GettyImages-450349680-1020x680.jpg' target='_blank']\u003c/p>\n\u003cp>Ivey McClelland, 57, a musician in Albuquerque, New Mexico, said Ebony and Jet were found in every black home she knew while growing up in Los Angeles. “My uncle, bless his heart, had around 30 to 40 years’ worth of Jet magazines,” she said. “He got them for ‘The Beauty of the Week’.”\u003c/p>\n\u003cp>But McClelland said the magazines remained dear to her heart for their images connected to key moments in black history. She and her grandmother were in Michigan and Canada when the Watts Riots of 1965 erupted. The first still images she saw of her community in Los Angeles damaged by fires were in Jet, she said.\u003c/p>\n\u003cp>“My mother kept the special issues of Martin Luther King’s assassination,” McClelland said. “That’s why I hope these foundations save these archives and don’t do anything to appropriate the images.”\u003c/p>\n\u003cp>Yalanda Lattimore, the host of \u003ca href=\"https://podcasts.apple.com/us/podcast/buzz-it-or-bash-it-with-dryerbuzz/id1455650111\">“Buzz it or Bash It with DryerBuzz,”\u003c/a> an Atlanta-based podcast on black issues, said she has been warning listeners and readers of her blog that the archive was in trouble.\u003c/p>\n\u003cp>“It hurts my heart that Ebony had to sell these archives,” said Lattimore, 53. “But I’m glad foundations are involved. Foundations are the ones who help save archives connected to black history, so I’m hopeful.”\u003c/p>\n\u003cp>The foundations said whatever the future holds for the Ebony and Jet titles, they are thrilled to have helped secure the magazines’ legacy forever.\u003c/p>\n\u003cp>“The good news here is that this archive — regardless of the future success of the Johnson publications — will be successful. This archive will be the legacy of the Johnson Publishing Company,” Walker said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost. But it's also causing some to mourn the fact that the prints won't fully be in the hands of an African American-owned entity. ",
"status": "publish",
"parent": 0,
"modified": 1726766589,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 27,
"wordCount": 962
},
"headData": {
"title": "Sale of Ebony and Jet Photo Archives Sparks Both Relief and Anxiety | KQED",
"description": "The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost. But it's also causing some to mourn the fact that the prints won't fully be in the hands of an African American-owned entity. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sale of Ebony and Jet Photo Archives Sparks Both Relief and Anxiety",
"datePublished": "2019-07-27T08:00:14-07:00",
"dateModified": "2024-09-19T10:23:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Russell Contreras and Sally Ho, Associated Press",
"path": "/arts/13862313/sale-of-ebony-and-jet-photo-archives-sparks-both-relief-and-anxiety",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost.\u003c/p>\n\u003cp>But it’s also causing some to mourn since the images, including photos of Emmett Till in 1955 after he was killed and ones documenting the rise of the Rev. Martin Luther King Jr., won’t fully be in the hands an African American-owned entity. Ebony and Jet, for more than half a century, stood as the epitome of black-owned business.\u003c/p>\n\u003cp>“You have to do what you have to do,” Roy Douglas Malonson, publisher of the Houston-based \u003ca href=\"https://aframnews.com/\">African American News & Issues\u003c/a> newspaper, said. “But it’s sad because we lose control forever.”\u003c/p>\n\u003cp>The Ford Foundation, the John D. and Catherine T. McArthur Foundation, The J. Paul Getty Trust and the Andrew W. Mellon Foundation are buying the archive for $30 million as part of an auction to pay off secured creditors of Johnson Publishing Company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854692",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chicago-based Johnson Publishing, the owner of the archives and former publisher of the magazines, filed for Chapter 7 bankruptcy protection in April.\u003c/p>\n\u003cp>The foundations plan to donate the more than 4 million prints and negatives to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cp>The deal was shepherded by the presidents of the Ford and Mellon foundations. The two are among the nonprofit sector’s most prominent black leaders and are themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Darren Walker and Elizabeth Alexander said the sale was important to them personally as African Americans.\u003c/p>\n\u003cp>“What it means to be in a position to be able to be helpful in safeguarding this treasure and our shared history overwhelms me with joy,” Alexander said. “It is very significant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": " “It wasn’t about all poverty and suffering. It was about joy.”",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Adrienne Samuels Gibbs, a former staff of \u003cem>Ebony\u003c/em> magazine",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides black newspapers in cities across the nation, few media outlets dedicated resources to cover events and people connected to African American lifestyle and news as Ebony and Jet magazines. Ebony began publishing regularly just after the end of World War II while the smaller-sized Jet began in 1951 when African Americans in many regions still lived under racial segregation.\u003c/p>\n\u003cp>Adrienne Samuels Gibbs, a former Ebony magazine staffer, said Ebony and Jet dutifully captured the environment that African Americans were forced to endure over the years.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Miles Davis, Muhammad Ali, Nina Simone, and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photo of the open coffin of Emmett Till, showing the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>Gibbs said the photos also show everyday black life — from children playing in city parks to elders praying at rural churches.\u003c/p>\n\u003cp>“It wasn’t about all poverty and suffering. It was about joy,” Gibbs said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13862274",
"hero": "https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Jet_GettyImages-450349680-1020x680.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ivey McClelland, 57, a musician in Albuquerque, New Mexico, said Ebony and Jet were found in every black home she knew while growing up in Los Angeles. “My uncle, bless his heart, had around 30 to 40 years’ worth of Jet magazines,” she said. “He got them for ‘The Beauty of the Week’.”\u003c/p>\n\u003cp>But McClelland said the magazines remained dear to her heart for their images connected to key moments in black history. She and her grandmother were in Michigan and Canada when the Watts Riots of 1965 erupted. The first still images she saw of her community in Los Angeles damaged by fires were in Jet, she said.\u003c/p>\n\u003cp>“My mother kept the special issues of Martin Luther King’s assassination,” McClelland said. “That’s why I hope these foundations save these archives and don’t do anything to appropriate the images.”\u003c/p>\n\u003cp>Yalanda Lattimore, the host of \u003ca href=\"https://podcasts.apple.com/us/podcast/buzz-it-or-bash-it-with-dryerbuzz/id1455650111\">“Buzz it or Bash It with DryerBuzz,”\u003c/a> an Atlanta-based podcast on black issues, said she has been warning listeners and readers of her blog that the archive was in trouble.\u003c/p>\n\u003cp>“It hurts my heart that Ebony had to sell these archives,” said Lattimore, 53. “But I’m glad foundations are involved. Foundations are the ones who help save archives connected to black history, so I’m hopeful.”\u003c/p>\n\u003cp>The foundations said whatever the future holds for the Ebony and Jet titles, they are thrilled to have helped secure the magazines’ legacy forever.\u003c/p>\n\u003cp>“The good news here is that this archive — regardless of the future success of the Johnson publications — will be successful. This archive will be the legacy of the Johnson Publishing Company,” Walker said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862313/sale-of-ebony-and-jet-photo-archives-sparks-both-relief-and-anxiety",
"authors": [
"byline_arts_13862313"
],
"categories": [
"arts_7862",
"arts_235",
"arts_75"
],
"tags": [
"arts_888",
"arts_7705",
"arts_4097",
"arts_1118",
"arts_2640",
"arts_3648",
"arts_596"
],
"featImg": "arts_13862351",
"label": "arts"
},
"arts_13862258": {
"type": "posts",
"id": "arts_13862258",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862258",
"score": null,
"sort": [
1564157489000
]
},
"guestAuthors": [],
"slug": "mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it",
"title": "'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It",
"publishDate": 1564157489,
"format": "standard",
"headTitle": "‘Mike Wallace Is Here’: A Newsman Who Shined A Spotlight — And Basked In It | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\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": "Avi Belkin's documentary of the late '60 Minutes' interrogator explores the ambiguous space Wallace occupied between journalistic rigor and slick showmanship. ",
"status": "publish",
"parent": 0,
"modified": 1726705128,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 798
},
"headData": {
"title": "'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It | KQED",
"description": "Avi Belkin's documentary of the late '60 Minutes' interrogator explores the ambiguous space Wallace occupied between journalistic rigor and slick showmanship. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It",
"datePublished": "2019-07-26T09:11:29-07:00",
"dateModified": "2024-09-18T17:18:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Scott Tobias",
"nprImageAgency": "Magnolia Pictures ",
"nprStoryId": "744154596",
"nprApiLink": "http://api.npr.org/query?id=744154596&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/25/744154596/mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it?ft=nprml&f=744154596",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jul 2019 17:00:00 -0400",
"nprStoryDate": "Thu, 25 Jul 2019 17:00:26 -0400",
"nprLastModifiedDate": "Thu, 25 Jul 2019 17:00:26 -0400",
"path": "/arts/13862258/mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\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/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\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>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\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/13862258/mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it",
"authors": [
"byline_arts_13862258"
],
"categories": [
"arts_235",
"arts_75"
],
"tags": [
"arts_13672",
"arts_1753",
"arts_1118",
"arts_977",
"arts_2640",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862259",
"label": "arts_137"
},
"arts_13861870": {
"type": "posts",
"id": "arts_13861870",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13861870",
"score": null,
"sort": [
1563811334000
]
},
"guestAuthors": [],
"slug": "watch-tom-hanks-as-mr-rogers-in-the-trailer-for-a-beautiful-day-in-the-neighborhood",
"title": "Watch Tom Hanks as Mr. Rogers in the Trailer for 'A Beautiful Day in the Neighborhood'",
"publishDate": 1563811334,
"format": "standard",
"headTitle": "Watch Tom Hanks as Mr. Rogers in the Trailer for ‘A Beautiful Day in the Neighborhood’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "If Tom Hanks playing Mr. Rogers doesn't get your week off to the right start, I don't know what will.",
"status": "publish",
"parent": 0,
"modified": 1765919913,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 98
},
"headData": {
"title": "Watch Tom Hanks as Mr. Rogers in the Trailer for 'A Beautiful Day in the Neighborhood' | KQED",
"description": "If Tom Hanks playing Mr. Rogers doesn't get your week off to the right start, I don't know what will.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch Tom Hanks as Mr. Rogers in the Trailer for 'A Beautiful Day in the Neighborhood'",
"datePublished": "2019-07-22T09:02:14-07:00",
"dateModified": "2025-12-16T13:18:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13861870/watch-tom-hanks-as-mr-rogers-in-the-trailer-for-a-beautiful-day-in-the-neighborhood",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\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/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13861870/watch-tom-hanks-as-mr-rogers-in-the-trailer-for-a-beautiful-day-in-the-neighborhood",
"authors": [
"185"
],
"categories": [
"arts_74",
"arts_235",
"arts_75",
"arts_990"
],
"tags": [
"arts_3785",
"arts_2882"
],
"featImg": "arts_13861872",
"label": "arts"
},
"arts_13861743": {
"type": "posts",
"id": "arts_13861743",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13861743",
"score": null,
"sort": [
1563558662000
]
},
"guestAuthors": [],
"slug": "the-do-list-listen-to-our-weekend-picks-for-july-19-21",
"title": "The Do List: Listen to Our Weekend Picks for July 19–21",
"publishDate": 1563558662,
"format": "audio",
"headTitle": "The Do List: Listen to Our Weekend Picks for July 19–21 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "A celebration at Lake Merritt, a Green Day side project, an art book extravaganza and more this weekend.",
"status": "publish",
"parent": 0,
"modified": 1726766637,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 374
},
"headData": {
"title": "The Do List: Listen to Our Weekend Picks for July 19–21 | KQED",
"description": "A celebration at Lake Merritt, a Green Day side project, an art book extravaganza and more this weekend.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Do List: Listen to Our Weekend Picks for July 19–21",
"datePublished": "2019-07-19T10:51:02-07:00",
"dateModified": "2024-09-19T10:23:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2050/05/The-Do-List-for-the-Week-of-July-18-21-2019.mp3",
"sticky": false,
"audioTrackLength": 269,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13861743/the-do-list-listen-to-our-weekend-picks-for-july-19-21",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13861743/the-do-list-listen-to-our-weekend-picks-for-july-19-21",
"authors": [
"185",
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_74",
"arts_69",
"arts_75",
"arts_70"
],
"tags": [
"arts_928",
"arts_1118",
"arts_1543",
"arts_1785",
"arts_1694",
"arts_1381",
"arts_1334"
],
"featImg": "arts_13832894",
"label": "arts_140"
},
"arts_13861583": {
"type": "posts",
"id": "arts_13861583",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13861583",
"score": null,
"sort": [
1563389746000
]
},
"guestAuthors": [],
"slug": "lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short",
"title": "Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short",
"publishDate": 1563389746,
"format": "standard",
"headTitle": "Lots Of Love And One Big Lie — ‘The Farewell’ Reminds Us Time Is Short | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Awkwafina stars in Lulu Wang's funny ensemble drama about a Chinese American family and their elaborate ruse to pay respects to their matriarch — without ever letting on she has a terminal illness.",
"status": "publish",
"parent": 0,
"modified": 1726766650,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 805
},
"headData": {
"title": "Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short | KQED",
"description": "Awkwafina stars in Lulu Wang's funny ensemble drama about a Chinese American family and their elaborate ruse to pay respects to their matriarch — without ever letting on she has a terminal illness.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short",
"datePublished": "2019-07-17T11:55:46-07:00",
"dateModified": "2024-09-19T10:24:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Justin Chang",
"nprImageAgency": "A24",
"nprStoryId": "740672550",
"nprApiLink": "http://api.npr.org/query?id=740672550&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/11/740672550/lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short?ft=nprml&f=740672550",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 12 Jul 2019 11:52:00 -0400",
"nprStoryDate": "Thu, 11 Jul 2019 13:43:56 -0400",
"nprLastModifiedDate": "Thu, 11 Jul 2019 13:44:18 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190711_fa_02.mp3?orgId=427869011&topicId=4467349&d=447&p=13&story=740672550&ft=nprml&f=740672550",
"nprAudioM3u": "http://api.npr.org/m3u/1740788431-82377f.m3u?orgId=427869011&topicId=4467349&d=447&p=13&story=740672550&ft=nprml&f=740672550",
"audioTrackLength": 448,
"path": "/arts/13861583/lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190711_fa_02.mp3?orgId=427869011&topicId=4467349&d=447&p=13&story=740672550&ft=nprml&f=740672550",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\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\u003c/div>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13861583/lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short",
"authors": [
"byline_arts_13861583"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_549",
"arts_596"
],
"featImg": "arts_13861584",
"label": "arts"
},
"arts_13861492": {
"type": "posts",
"id": "arts_13861492",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13861492",
"score": null,
"sort": [
1563305628000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1563305628,
"format": "standard",
"title": "Beyoncé, 'Surviving R. Kelly' and 'Leaving Neverland' Get Emmy Nods",
"headTitle": "Beyoncé, ‘Surviving R. Kelly’ and ‘Leaving Neverland’ Get Emmy Nods | KQED",
"content": "\u003cp>NEW YORK (AP) — Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.\u003c/p>\n\u003cp>With Netflix’s “Homecoming: A Film by Beyoncé,” the pop star personally earned four of the six nominations Tuesday, including bids for producing, writing, co-directing and musical direction. In the outstanding variety special (pre-recorded) category, “Homecoming” will compete with “Springsteen on Broadway.”\u003c/p>\n\u003cp>“Homecoming” also earned nominations for costumes and production design.\u003c/p>\n\u003cp>HBO’s “Leaving Neverland,” a documentary where two men accused Jackson of molesting them as boys that sparked new scrutiny of years-old claims that the King of Pop preyed on children, earned five nominations, including outstanding documentary or nonfiction special (Jackson’s estate denied the allegations and Jackson long maintained his innocence when he was alive).\u003c/p>\n\u003cp>Lifetime’s “Surviving R. Kelly,” which looks at the R&B singer’s history and allegations that he has sexually abused women and girls, picked up a single nomination for outstanding informational series or special. Kelly, who was acquitted of child pornography charges in 2008, was hit with new criminal charges on the federal and state level following the airing of the docuseries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Netflix’s “FYRE: The Greatest Party That Never Happened” followed the highly publicized and famously failed music bash in the Bahamas and received four nominations. Another documentary on the doomed festival called “Fyre Fraud,” which aired on Hulu, is nominated for outstanding writing for a nonfiction program, where Showtime’s “Wu-Tang Clan: Of Mics And Men” also earned a nomination.\u003c/p>\n\u003cp>“Aretha! A Grammy Celebration For The Queen of Soul,” which aired on CBS and featured Patti LaBelle, John Legend and others honoring the late legend, picked up two nominations.\u003c/p>\n\u003cp>Sara Bareilles — who has been nominated for multiple Grammys and Tonys and earned up her first Emmy nomination last year — shares a nomination this year for outstanding original music and lyrics with Josh Groban for their work on the 72nd annual Tony Awards. Mega-producer T Bone Burnett, who produced Bareilles’ latest album, scored a nomination for his musical score of HBO’s “True Detective.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyoncé, who has 23 Grammys, earned Emmy nominations in the past for her “Lemonade” visual project, her Super Bowl halftime show performance and her “On the Run” tour with Jay-Z. Her nominations this year include outstanding directing for a variety special, outstanding writing for a variety special and outstanding music direction. In the outstanding variety special (pre-recorded) category, she is nominated as an executive producer of “Homecoming.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 474,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705022538,
"excerpt": "Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.",
"title": "Beyoncé, 'Surviving R. Kelly' and 'Leaving Neverland' Get Emmy Nods | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyoncé, 'Surviving R. Kelly' and 'Leaving Neverland' Get Emmy Nods",
"datePublished": "2019-07-16T12:33:48-07:00",
"dateModified": "2024-01-11T17:22:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beyonce-surviving-r-kelly-and-leaving-neverland-get-emmy-nods",
"status": "publish",
"nprByline": "Mesfin Fekadu, Associated Press",
"sticky": false,
"path": "/arts/13861492/beyonce-surviving-r-kelly-and-leaving-neverland-get-emmy-nods",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.\u003c/p>\n\u003cp>With Netflix’s “Homecoming: A Film by Beyoncé,” the pop star personally earned four of the six nominations Tuesday, including bids for producing, writing, co-directing and musical direction. In the outstanding variety special (pre-recorded) category, “Homecoming” will compete with “Springsteen on Broadway.”\u003c/p>\n\u003cp>“Homecoming” also earned nominations for costumes and production design.\u003c/p>\n\u003cp>HBO’s “Leaving Neverland,” a documentary where two men accused Jackson of molesting them as boys that sparked new scrutiny of years-old claims that the King of Pop preyed on children, earned five nominations, including outstanding documentary or nonfiction special (Jackson’s estate denied the allegations and Jackson long maintained his innocence when he was alive).\u003c/p>\n\u003cp>Lifetime’s “Surviving R. Kelly,” which looks at the R&B singer’s history and allegations that he has sexually abused women and girls, picked up a single nomination for outstanding informational series or special. Kelly, who was acquitted of child pornography charges in 2008, was hit with new criminal charges on the federal and state level following the airing of the docuseries.\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>Netflix’s “FYRE: The Greatest Party That Never Happened” followed the highly publicized and famously failed music bash in the Bahamas and received four nominations. Another documentary on the doomed festival called “Fyre Fraud,” which aired on Hulu, is nominated for outstanding writing for a nonfiction program, where Showtime’s “Wu-Tang Clan: Of Mics And Men” also earned a nomination.\u003c/p>\n\u003cp>“Aretha! A Grammy Celebration For The Queen of Soul,” which aired on CBS and featured Patti LaBelle, John Legend and others honoring the late legend, picked up two nominations.\u003c/p>\n\u003cp>Sara Bareilles — who has been nominated for multiple Grammys and Tonys and earned up her first Emmy nomination last year — shares a nomination this year for outstanding original music and lyrics with Josh Groban for their work on the 72nd annual Tony Awards. Mega-producer T Bone Burnett, who produced Bareilles’ latest album, scored a nomination for his musical score of HBO’s “True Detective.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyoncé, who has 23 Grammys, earned Emmy nominations in the past for her “Lemonade” visual project, her Super Bowl halftime show performance and her “On the Run” tour with Jay-Z. Her nominations this year include outstanding directing for a variety special, outstanding writing for a variety special and outstanding music direction. In the outstanding variety special (pre-recorded) category, she is nominated as an executive producer of “Homecoming.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13861492/beyonce-surviving-r-kelly-and-leaving-neverland-get-emmy-nods",
"authors": [
"byline_arts_13861492"
],
"categories": [
"arts_1",
"arts_235",
"arts_75"
],
"tags": [
"arts_1686",
"arts_1694",
"arts_596",
"arts_6443"
],
"featImg": "arts_13861494",
"label": "arts"
},
"arts_13861201": {
"type": "posts",
"id": "arts_13861201",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13861201",
"score": null,
"sort": [
1562968231000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1562968231,
"format": "standard",
"title": "A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades",
"headTitle": "A Cup Of Ambition And Endurance: ‘9 To 5’ Unites Workers Across Decades | 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>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\n\u003cp>https://youtu.be/UbxUSsFXYo4\u003c/p>\n\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 858,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022544,
"excerpt": "Dolly Parton's classic singalong aims a catchy beat at a serious point, listing the ways the daily grind exploits and exhausts people — some more than others.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dolly Parton's classic singalong aims a catchy beat at a serious point, listing the ways the daily grind exploits and exhausts people — some more than others.",
"title": "A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades",
"datePublished": "2019-07-12T14:50:31-07:00",
"dateModified": "2024-01-11T17:22:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=738587297&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Lynn Neary",
"nprStoryDate": "Thu, 11 Jul 2019 05:22:00 -0400",
"nprLastModifiedDate": "Thu, 11 Jul 2019 13:43:22 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/07/11/738587297/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades?ft=nprml&f=738587297",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190711_me_a_cup_of_ambition_and_endurance_9_to_5_unites_workers_across_decades.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297",
"audioTrackLength": 428,
"nprAudioM3u": "http://api.npr.org/m3u/1740608364-539f26.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297",
"nprStoryId": "738587297",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Jul 2019 13:43:00 -0400",
"path": "/arts/13861201/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190711_me_a_cup_of_ambition_and_endurance_9_to_5_unites_workers_across_decades.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297",
"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>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\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/UbxUSsFXYo4'\n title='//www.youtube.com/embed/UbxUSsFXYo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\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/AqUKOV27tAM'\n title='//www.youtube.com/embed/AqUKOV27tAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13861201/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades",
"authors": [
"byline_arts_13861201"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_7534",
"arts_7535",
"arts_4088",
"arts_1962",
"arts_2388",
"arts_2639",
"arts_6013",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13861313",
"label": "arts_137"
},
"arts_13861067": {
"type": "posts",
"id": "arts_13861067",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13861067",
"score": null,
"sort": [
1562778553000
]
},
"guestAuthors": [],
"slug": "actor-rip-torn-who-made-his-mark-on-the-larry-sanders-show-dies-at-88",
"title": "Actor Rip Torn, Who Made His Mark On 'The Larry Sanders Show,' Dies at 88",
"publishDate": 1562778553,
"format": "standard",
"headTitle": "Actor Rip Torn, Who Made His Mark On ‘The Larry Sanders Show,’ Dies at 88 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life, but his performances also proved influential on scores of successful television shows.",
"status": "publish",
"parent": 0,
"modified": 1726704600,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 909
},
"headData": {
"title": "Actor Rip Torn, Who Made His Mark On 'The Larry Sanders Show,' Dies at 88 | KQED",
"description": "Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life, but his performances also proved influential on scores of successful television shows.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Actor Rip Torn, Who Made His Mark On 'The Larry Sanders Show,' Dies at 88",
"datePublished": "2019-07-10T10:09:13-07:00",
"dateModified": "2024-09-18T17:10:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "J. Vespa",
"nprByline": "Bobby Allyn",
"nprImageAgency": "WireImage/Getty Images",
"nprStoryId": "740161336",
"nprApiLink": "http://api.npr.org/query?id=740161336&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/10/740161336/actor-rip-torn-who-made-his-mark-on-the-larry-sanders-show-dies-at-88?ft=nprml&f=740161336",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 10 Jul 2019 09:40:00 -0400",
"nprStoryDate": "Wed, 10 Jul 2019 06:45:31 -0400",
"nprLastModifiedDate": "Wed, 10 Jul 2019 09:40:52 -0400",
"path": "/arts/13861067/actor-rip-torn-who-made-his-mark-on-the-larry-sanders-show-dies-at-88",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\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>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13861067/actor-rip-torn-who-made-his-mark-on-the-larry-sanders-show-dies-at-88",
"authors": [
"byline_arts_13861067"
],
"categories": [
"arts_235",
"arts_75",
"arts_1564"
],
"tags": [
"arts_7525",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13861068",
"label": "arts_137"
},
"arts_13860983": {
"type": "posts",
"id": "arts_13860983",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13860983",
"score": null,
"sort": [
1562697027000
]
},
"guestAuthors": [],
"slug": "dapper-dan-telling-stories-in-leather-fur-and-logos",
"title": "Dapper Dan, Telling Stories In Leather, Fur And Logos",
"publishDate": 1562697027,
"format": "image",
"headTitle": "Dapper Dan, Telling Stories In Leather, Fur And Logos | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>It’s summer in Harlem. It’s blazing hot. But that hasn’t stopped Dapper Dan from holding court on the street in front of his atelier, greeting people as they pass by.\u003c/p>\n\u003cfigure id=\"attachment_13860988\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-800x1177.jpg\" alt='\"Dapper Dan Made in Harlem: A Memoir\" by Daniel R. Day' width=\"800\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-768x1130.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Dapper Dan Made in Harlem: A Memoir” by Daniel R. Day\u003c/figcaption>\u003c/figure>\n\u003cp>I met up with him to talk about his new memoir, \u003cem>Dapper Dan: Made in Harlem\u003c/em>, about his journey from hustler to respected taste-maker and businessman. Today he’s wearing a pastel green suit jacket over a couture vest and matching pants that he designed himself for the European fashion giant Gucci. “This is fine polka dot, Gucci loafers, semi-loafers they call them,” and yes — those are gold moths on the back.\u003c/p>\n\u003cp>Dan says these daily greetings are important to him. “The cheapest jacket I have inside is $2700. So the people in my community I know cannot afford that, so I make sure I stand outside and engage them every day.”\u003c/p>\n\u003cp>Now, Dan’s selling jackets for nearly three grand — but when he was a kid, here in Harlem, his family didn’t have that kind of money. He tells a story in his book about shopping for an Easter suit with his father: “We went to Ripley’s department store. I was gonna get my first suit. I think I was in eighth grade, seventh or eighth grade and we went to Ripley’s department store. I saw a charcoal brown suit with pinstripes. I loved it, and my father was going to give it to me, right? We were gonna get it on credit, cause we couldn’t pay cash. We didn’t have the money,” Dan remembers.\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.” —Dapper Dan [/pullquote]\u003c/p>\n\u003cp>“And so I said, ‘Daddy, let me see the contract.’ And I read the contract and figured out the mathematics. And I said, ‘Dad, you’re gonna end up paying two and a half times what this suit is worth.’ I said, ‘Don’t get it, Dad.’ And we came on out the store, and on the way down the steps my father stopped me, and he said he said ‘Boy, don’t you know you can read? Boy, you could read!’ You know? And I’m looking at my father’s face, you know and the intensity of his face, right? Then it all came back to me cause my father only went to the third grade and he had to teach himself to read. So everything I’ve encountered, I know that I could read my way out of it.”\u003c/p>\n\u003cp>He never did get that Easter suit. “I got a better suit,” he says. “I got something that suited me for life. So I’m glad. That’s one suit I’m glad I didn’t get.”\u003c/p>\n\u003cp>Dan is partners with Gucci now — the fashion giant struck a deal with him in 2017 — but when he was making clothes in the ’80s, he wasn’t asking permission to use the Gucci logo. Back then, after he’d been making and selling furs for a few years, he noticed a new trend: Designer bags, by brands like Gucci and Louis Vuitton, printed with the labels’ logos all over them. And he thought, I can do that. But bigger. “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.”\u003c/p>\n\u003cp>He bootlegged the logo prints and made bespoke suits and dresses, even custom upholstery for cars with the material. The actual clothing labels weren’t making anything like it. And so he became a favorite designer for rappers and hustlers, Harlem’s black and Latino clientele with money to spend — money the major fashion houses didn’t welcome.\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” —Dapper Dan [/pullquote]\u003c/p>\n\u003cp>Dapper Dan was the king of hip hop fashion before the labels shut him down in the ’90s. The photos on the walls of his atelier tell the story, and one, in particular, jumped out at me — it’s the rapper Rakim, and the legendary Gucci-patterned jacket Dapper Dan made him. “The black leather jacket, black leather plongé with gold colored Gucci G’s all over, and trimmed in metallic gold piping, with his name on the back, and his Five Percenter sign. That’s a historical jacket. That is probably the most important jacket in hip-hop.”\u003c/p>\n\u003cp>It’s also part of Dan’s transition from outfitting neighborhood gangsters to designing for hip-hop artists. “Back then, the rappers wanted to be like the gangsters, they wanted to dress like the gangsters,” he says. “Today, we have the opposite going on. The gangsters want to be like the rappers. And Eric B.& Rakim, those were the first ones that really, yo, gangsters really liked they style.”\u003c/p>\n\u003cp>When Dan wants to get into something new, like furs or custom tailoring, he studies — he goes around to manufacturers and learns everything he can. He calls it “sciencing,” and he does it over and over again. “Over and over again! And you know what? I find it exciting. Right now, my children think I’m crazy, ’cause I stay on the Internet. They have no clue how important this is to me. I can press a button and get information that I used to have to go into garbage and get. That wasn’t revealed to me.”\u003c/p>\n\u003cp>Dan says he had to get into clothing factories, “and find a way to get in there and talk to the owners, talk to the workers … In addition to that, I would go to the people who made these machines, and people who used these machines, to pretend I was gonna place an order with them, so I could see how they work. And the first thing I would do … I would shake their hand, look in their eyes and look behind them to see what they’re reading, or see what books are on their desk. I would look for information like that. And I would always try to find a person of color that worked there, if I couldn’t get the information, then afterwards I’d pay them to tell me something — and if that didn’t work, I’d go through their garbage.”\u003c/p>\n\u003cp>Dan doesn’t like the word “designer” — but he does like the word “creative.” “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” he says. “I wanna tell stories that tell people’s lives, like I make clothes that change people’s attitudes about how they feel about theyself. That’s it, that’s the core of who I am.”\u003c/p>\n\u003cp>\u003cem>Jolie Myers and Christina Cala produced this story for radio, and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dapper+Dan%2C+Telling+Stories+In+Leather%2C+Fur+And+Logos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "The legendary hip-hop designer is now partnering with the big fashion labels who originally shut him down for bootlegging their logos. He's got a new memoir out, called \u003cem>Dapper Dan: Made in Harlem\u003c/em>.",
"status": "publish",
"parent": 0,
"modified": 1726766688,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1320
},
"headData": {
"title": "Dapper Dan, Telling Stories In Leather, Fur And Logos | KQED",
"description": "The legendary hip-hop designer is now partnering with the big fashion labels who originally shut him down for bootlegging their logos. He's got a new memoir out, called Dapper Dan: Made in Harlem.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dapper Dan, Telling Stories In Leather, Fur And Logos",
"datePublished": "2019-07-09T11:30:27-07:00",
"dateModified": "2024-09-19T10:24:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jelani Day",
"nprByline": "Audie Cornish",
"nprImageAgency": "Dapper Dan of Harlem",
"nprStoryId": "739508701",
"nprApiLink": "http://api.npr.org/query?id=739508701&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/08/739508701/dapper-dan-telling-stories-in-leather-fur-and-logos?ft=nprml&f=739508701",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 08 Jul 2019 19:55:00 -0400",
"nprStoryDate": "Mon, 08 Jul 2019 16:30:00 -0400",
"nprLastModifiedDate": "Mon, 08 Jul 2019 20:05:55 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190708_atc_dapper_dan_telling_stories_in_leather_fur_and_logos.mp3?orgId=1&topicId=1033&d=476&p=2&story=739508701&ft=nprml&f=739508701",
"nprAudioM3u": "http://api.npr.org/m3u/1739643838-61ea80.m3u?orgId=1&topicId=1033&d=476&p=2&story=739508701&ft=nprml&f=739508701",
"audioTrackLength": 476,
"path": "/arts/13860983/dapper-dan-telling-stories-in-leather-fur-and-logos",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190708_atc_dapper_dan_telling_stories_in_leather_fur_and_logos.mp3?orgId=1&topicId=1033&d=476&p=2&story=739508701&ft=nprml&f=739508701",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s summer in Harlem. It’s blazing hot. But that hasn’t stopped Dapper Dan from holding court on the street in front of his atelier, greeting people as they pass by.\u003c/p>\n\u003cfigure id=\"attachment_13860988\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-800x1177.jpg\" alt='\"Dapper Dan Made in Harlem: A Memoir\" by Daniel R. Day' width=\"800\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-768x1130.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Dapper Dan Made in Harlem: A Memoir” by Daniel R. Day\u003c/figcaption>\u003c/figure>\n\u003cp>I met up with him to talk about his new memoir, \u003cem>Dapper Dan: Made in Harlem\u003c/em>, about his journey from hustler to respected taste-maker and businessman. Today he’s wearing a pastel green suit jacket over a couture vest and matching pants that he designed himself for the European fashion giant Gucci. “This is fine polka dot, Gucci loafers, semi-loafers they call them,” and yes — those are gold moths on the back.\u003c/p>\n\u003cp>Dan says these daily greetings are important to him. “The cheapest jacket I have inside is $2700. So the people in my community I know cannot afford that, so I make sure I stand outside and engage them every day.”\u003c/p>\n\u003cp>Now, Dan’s selling jackets for nearly three grand — but when he was a kid, here in Harlem, his family didn’t have that kind of money. He tells a story in his book about shopping for an Easter suit with his father: “We went to Ripley’s department store. I was gonna get my first suit. I think I was in eighth grade, seventh or eighth grade and we went to Ripley’s department store. I saw a charcoal brown suit with pinstripes. I loved it, and my father was going to give it to me, right? We were gonna get it on credit, cause we couldn’t pay cash. We didn’t have the money,” Dan remembers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": " “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.” —Dapper Dan ",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And so I said, ‘Daddy, let me see the contract.’ And I read the contract and figured out the mathematics. And I said, ‘Dad, you’re gonna end up paying two and a half times what this suit is worth.’ I said, ‘Don’t get it, Dad.’ And we came on out the store, and on the way down the steps my father stopped me, and he said he said ‘Boy, don’t you know you can read? Boy, you could read!’ You know? And I’m looking at my father’s face, you know and the intensity of his face, right? Then it all came back to me cause my father only went to the third grade and he had to teach himself to read. So everything I’ve encountered, I know that I could read my way out of it.”\u003c/p>\n\u003cp>He never did get that Easter suit. “I got a better suit,” he says. “I got something that suited me for life. So I’m glad. That’s one suit I’m glad I didn’t get.”\u003c/p>\n\u003cp>Dan is partners with Gucci now — the fashion giant struck a deal with him in 2017 — but when he was making clothes in the ’80s, he wasn’t asking permission to use the Gucci logo. Back then, after he’d been making and selling furs for a few years, he noticed a new trend: Designer bags, by brands like Gucci and Louis Vuitton, printed with the labels’ logos all over them. And he thought, I can do that. But bigger. “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.”\u003c/p>\n\u003cp>He bootlegged the logo prints and made bespoke suits and dresses, even custom upholstery for cars with the material. The actual clothing labels weren’t making anything like it. And so he became a favorite designer for rappers and hustlers, Harlem’s black and Latino clientele with money to spend — money the major fashion houses didn’t welcome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": " “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” —Dapper Dan ",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dapper Dan was the king of hip hop fashion before the labels shut him down in the ’90s. The photos on the walls of his atelier tell the story, and one, in particular, jumped out at me — it’s the rapper Rakim, and the legendary Gucci-patterned jacket Dapper Dan made him. “The black leather jacket, black leather plongé with gold colored Gucci G’s all over, and trimmed in metallic gold piping, with his name on the back, and his Five Percenter sign. That’s a historical jacket. That is probably the most important jacket in hip-hop.”\u003c/p>\n\u003cp>It’s also part of Dan’s transition from outfitting neighborhood gangsters to designing for hip-hop artists. “Back then, the rappers wanted to be like the gangsters, they wanted to dress like the gangsters,” he says. “Today, we have the opposite going on. The gangsters want to be like the rappers. And Eric B.& Rakim, those were the first ones that really, yo, gangsters really liked they style.”\u003c/p>\n\u003cp>When Dan wants to get into something new, like furs or custom tailoring, he studies — he goes around to manufacturers and learns everything he can. He calls it “sciencing,” and he does it over and over again. “Over and over again! And you know what? I find it exciting. Right now, my children think I’m crazy, ’cause I stay on the Internet. They have no clue how important this is to me. I can press a button and get information that I used to have to go into garbage and get. That wasn’t revealed to me.”\u003c/p>\n\u003cp>Dan says he had to get into clothing factories, “and find a way to get in there and talk to the owners, talk to the workers … In addition to that, I would go to the people who made these machines, and people who used these machines, to pretend I was gonna place an order with them, so I could see how they work. And the first thing I would do … I would shake their hand, look in their eyes and look behind them to see what they’re reading, or see what books are on their desk. I would look for information like that. And I would always try to find a person of color that worked there, if I couldn’t get the information, then afterwards I’d pay them to tell me something — and if that didn’t work, I’d go through their garbage.”\u003c/p>\n\u003cp>Dan doesn’t like the word “designer” — but he does like the word “creative.” “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” he says. “I wanna tell stories that tell people’s lives, like I make clothes that change people’s attitudes about how they feel about theyself. That’s it, that’s the core of who I am.”\u003c/p>\n\u003cp>\u003cem>Jolie Myers and Christina Cala produced this story for radio, and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dapper+Dan%2C+Telling+Stories+In+Leather%2C+Fur+And+Logos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13860983/dapper-dan-telling-stories-in-leather-fur-and-logos",
"authors": [
"byline_arts_13860983"
],
"categories": [
"arts_76",
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13860984",
"label": "arts_137"
},
"arts_13860779": {
"type": "posts",
"id": "arts_13860779",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13860779",
"score": null,
"sort": [
1562262143000
]
},
"guestAuthors": [],
"slug": "satirical-staple-mad-to-exit-newsstands-and-recycle-its-classic-material",
"title": "Satirical Staple 'MAD' To Exit Newsstands And Recycle Its Classic Material",
"publishDate": 1562262143,
"format": "standard",
"headTitle": "Satirical Staple ‘MAD’ To Exit Newsstands And Recycle Its Classic Material | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "At 'MAD' magazine's peak in the early 1970s, more than 2 million people subscribed to it. After two more issues, the magazine will reprint collections of old content with new covers. ",
"status": "publish",
"parent": 0,
"modified": 1726704607,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 187
},
"headData": {
"title": "Satirical Staple 'MAD' To Exit Newsstands And Recycle Its Classic Material | KQED",
"description": "At 'MAD' magazine's peak in the early 1970s, more than 2 million people subscribed to it. After two more issues, the magazine will reprint collections of old content with new covers. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Satirical Staple 'MAD' To Exit Newsstands And Recycle Its Classic Material",
"datePublished": "2019-07-04T10:42:23-07:00",
"dateModified": "2024-09-18T17:10:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Andrew Welsh-Huggins",
"nprByline": "Neda Ulaby",
"nprImageAgency": "AP",
"nprStoryId": "738767035",
"nprApiLink": "http://api.npr.org/query?id=738767035&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/04/738767035/satirical-staple-mad-to-exit-newsstands-and-recycle-its-classic-material?ft=nprml&f=738767035",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 04 Jul 2019 12:17:00 -0400",
"nprStoryDate": "Thu, 04 Jul 2019 12:16:56 -0400",
"nprLastModifiedDate": "Thu, 04 Jul 2019 12:18:02 -0400",
"path": "/arts/13860779/satirical-staple-mad-to-exit-newsstands-and-recycle-its-classic-material",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13860779/satirical-staple-mad-to-exit-newsstands-and-recycle-its-classic-material",
"authors": [
"byline_arts_13860779"
],
"categories": [
"arts_968",
"arts_235",
"arts_75"
],
"tags": [
"arts_549",
"arts_596",
"arts_914"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13860780",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 1704,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2995,
"relation": "eq"
},
"items": [
"arts_13862536",
"arts_13862433",
"arts_13862313",
"arts_13862258",
"arts_13861870",
"arts_13861743",
"arts_13861583",
"arts_13861492",
"arts_13861201",
"arts_13861067",
"arts_13860983",
"arts_13860779"
],
"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_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_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_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_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_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_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_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_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_8017": {
"type": "terms",
"id": "arts_8017",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8017",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tiktok",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tiktok Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8029,
"slug": "tiktok",
"isLoading": false,
"link": "/arts/tag/tiktok"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_888": {
"type": "terms",
"id": "arts_888",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "888",
"found": true
},
"relationships": {},
"featImg": null,
"name": "African American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "African American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 906,
"slug": "african-american",
"isLoading": false,
"link": "/arts/tag/african-american"
},
"arts_7705": {
"type": "terms",
"id": "arts_7705",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7705",
"found": true
},
"relationships": {},
"featImg": null,
"name": "archives",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "archives Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7717,
"slug": "archives",
"isLoading": false,
"link": "/arts/tag/archives"
},
"arts_4097": {
"type": "terms",
"id": "arts_4097",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4097",
"found": true
},
"relationships": {},
"featImg": null,
"name": "black history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "black history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4109,
"slug": "black-history",
"isLoading": false,
"link": "/arts/tag/black-history"
},
"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_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_1753": {
"type": "terms",
"id": "arts_1753",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1753",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Donald Trump",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Donald Trump Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1765,
"slug": "donald-trump",
"isLoading": false,
"link": "/arts/tag/donald-trump"
},
"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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_3785": {
"type": "terms",
"id": "arts_3785",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3785",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mister Rogers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mister Rogers Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3797,
"slug": "mister-rogers",
"isLoading": false,
"link": "/arts/tag/mister-rogers"
},
"arts_2882": {
"type": "terms",
"id": "arts_2882",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2882",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tom hanks",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tom hanks Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2894,
"slug": "tom-hanks",
"isLoading": false,
"link": "/arts/tag/tom-hanks"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_1543": {
"type": "terms",
"id": "arts_1543",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1543",
"found": true
},
"relationships": {},
"featImg": null,
"name": "green day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "green day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1555,
"slug": "green-day",
"isLoading": false,
"link": "/arts/tag/green-day"
},
"arts_1785": {
"type": "terms",
"id": "arts_1785",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1785",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lake merritt",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lake merritt Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1797,
"slug": "lake-merritt",
"isLoading": false,
"link": "/arts/tag/lake-merritt"
},
"arts_1694": {
"type": "terms",
"id": "arts_1694",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1694",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1706,
"slug": "music-festivals",
"isLoading": false,
"link": "/arts/tag/music-festivals"
},
"arts_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_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_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_6443": {
"type": "terms",
"id": "arts_6443",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6443",
"found": true
},
"relationships": {},
"featImg": null,
"name": "surviving r. kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "surviving r. kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6455,
"slug": "surviving-r-kelly",
"isLoading": false,
"link": "/arts/tag/surviving-r-kelly"
},
"arts_7535": {
"type": "terms",
"id": "arts_7535",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7535",
"found": true
},
"relationships": {},
"featImg": null,
"name": "countrymusicPBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "countrymusicPBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7547,
"slug": "countrymusicpbs",
"isLoading": false,
"link": "/arts/tag/countrymusicpbs"
},
"arts_4088": {
"type": "terms",
"id": "arts_4088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4088",
"found": true
},
"relationships": {},
"name": "Dolly Parton",
"slug": "dolly-parton",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Dolly Parton | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 4100,
"isLoading": false,
"link": "/arts/tag/dolly-parton"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_2388": {
"type": "terms",
"id": "arts_2388",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2388",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jane Fonda",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jane Fonda Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2400,
"slug": "jane-fonda",
"isLoading": false,
"link": "/arts/tag/jane-fonda"
},
"arts_2639": {
"type": "terms",
"id": "arts_2639",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2639",
"found": true
},
"relationships": {},
"featImg": null,
"name": "labor",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "labor Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2651,
"slug": "labor",
"isLoading": false,
"link": "/arts/tag/labor"
},
"arts_6013": {
"type": "terms",
"id": "arts_6013",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6013",
"found": true
},
"relationships": {},
"featImg": null,
"name": "misogyny",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "misogyny Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6025,
"slug": "misogyny",
"isLoading": false,
"link": "/arts/tag/misogyny"
},
"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_7525": {
"type": "terms",
"id": "arts_7525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "in memoriam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "in memoriam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7537,
"slug": "in-memoriam",
"isLoading": false,
"link": "/arts/tag/in-memoriam"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_914": {
"type": "terms",
"id": "arts_914",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "914",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 932,
"slug": "zines",
"isLoading": false,
"link": "/arts/tag/zines"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}