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_13969057": {
"type": "attachments",
"id": "arts_13969057",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13969057",
"found": true
},
"title": "unstoppable",
"publishDate": 1733363190,
"status": "inherit",
"parent": 13969055,
"modified": 1733363245,
"caption": "Jharrel Jerome in 'Unstoppable.’",
"credit": "Ana Carballosa/Amazon/MGM via AP",
"altTag": "A Black man in deep concentration lies flat on his stomach getting ready to do a push up.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-800x520.png",
"width": 800,
"height": 520,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-1020x664.png",
"width": 1020,
"height": 664,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-160x104.png",
"width": 160,
"height": 104,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-768x500.png",
"width": 768,
"height": 500,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-1536x999.png",
"width": 1536,
"height": 999,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable-1920x1249.png",
"width": 1920,
"height": 1249,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unstoppable.png",
"width": 2000,
"height": 1301
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13969031": {
"type": "attachments",
"id": "arts_13969031",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13969031",
"found": true
},
"title": "child time",
"publishDate": 1733348393,
"status": "inherit",
"parent": 13969027,
"modified": 1733348436,
"caption": "‘Time of the Child’ by Niall Williams.",
"credit": "Bloomsbury Publishing",
"altTag": "A book cover featuring a landscape painting of a coast line and cloudy skies.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-800x514.png",
"width": 800,
"height": 514,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-1020x655.png",
"width": 1020,
"height": 655,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-768x493.png",
"width": 768,
"height": 493,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-1536x986.png",
"width": 1536,
"height": 986,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1-1920x1233.png",
"width": 1920,
"height": 1233,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1.png",
"width": 2000,
"height": 1284
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13863996": {
"type": "attachments",
"id": "arts_13863996",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13863996",
"found": true
},
"title": "Jay-Z, April 27, 2019, Virginia Beach City.",
"publishDate": 1565733914,
"status": "inherit",
"parent": 13863975,
"modified": 1733288955,
"caption": "Jay-Z performing in Virginia Beach City on April 27, 2019. ",
"credit": "Craig Barritt/Getty Images for Something in the Water",
"altTag": "A Black man with short dreadlocks stands on stage under a blue light.",
"description": "Jay-Z, April 27, 2019, Virginia Beach City. ",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222-800x535.jpg",
"width": 800,
"height": 535,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222-768x514.jpg",
"width": 768,
"height": 514,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222-1020x682.jpg",
"width": 1020,
"height": 682,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222-1024x576.jpg",
"width": 1024,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1145571222.jpg",
"width": 1024,
"height": 685
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968938": {
"type": "attachments",
"id": "arts_13968938",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968938",
"found": true
},
"title": "bellvue",
"publishDate": 1733257901,
"status": "inherit",
"parent": 13968936,
"modified": 1733257948,
"caption": "‘Bellevue’ by Robin Cook. ",
"credit": "G.P. Putnam's Sons",
"altTag": "A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-800x498.png",
"width": 800,
"height": 498,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-1020x634.png",
"width": 1020,
"height": 634,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-160x100.png",
"width": 160,
"height": 100,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-768x478.png",
"width": 768,
"height": 478,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-1536x955.png",
"width": 1536,
"height": 955,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1-1920x1194.png",
"width": 1920,
"height": 1194,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1.png",
"width": 2000,
"height": 1244
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13956955": {
"type": "attachments",
"id": "arts_13956955",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13956955",
"found": true
},
"title": "Kendrick Lamar",
"publishDate": 1714585565,
"status": "inherit",
"parent": 13956954,
"modified": 1733247390,
"caption": "Kendrick Lamar.",
"credit": "Ricardo Rubio/ Europa Press via Getty Images",
"altTag": "A bearded Black man in a red track suit and white t-shirt performs on stage.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-2048x1152.jpg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-1497275788_wide-6f9dc4de302d4257deb6307f7ae1d74cceaff3ee-scaled-e1714585950137.jpg",
"width": 1920,
"height": 1079
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968822": {
"type": "attachments",
"id": "arts_13968822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968822",
"found": true
},
"title": "SFP_Waitress_JessicaPalopoli9",
"publishDate": 1732905332,
"status": "inherit",
"parent": 13968804,
"modified": 1732905352,
"caption": "Becky (Tanika Baptiste), Jenna (Ruby Day), and Dawn (Sharon Shao) wait tables at Joe’s Pie Diner in ‘Waitress’ at San Francisco Playhouse.",
"credit": "Jessica Palopoli",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli9-1.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968795": {
"type": "attachments",
"id": "arts_13968795",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968795",
"found": true
},
"title": "monster truck",
"publishDate": 1732755159,
"status": "inherit",
"parent": 13968735,
"modified": 1732823115,
"caption": "A small detail in Andrea Bergen's 'Raccoon Dunes,' currently on display at The Drawing Room Annex, San Francisco.",
"credit": "Rae Alexandra/KQED",
"altTag": "cut paper artwork showing raccoon riding monster truck",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/monster-truck.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968747": {
"type": "attachments",
"id": "arts_13968747",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968747",
"found": true
},
"title": "queer",
"publishDate": 1732729220,
"status": "inherit",
"parent": 13968744,
"modified": 1732729323,
"caption": "Daniel Craig (L) and Drew Starkey, starring in ‘Queer.’",
"credit": "Yannis Drakoulidis/A24 via AP",
"altTag": "Two men sit under a yellow blanket on a beach.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-800x520.png",
"width": 800,
"height": 520,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-1020x663.png",
"width": 1020,
"height": 663,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-160x104.png",
"width": 160,
"height": 104,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-768x499.png",
"width": 768,
"height": 499,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-1536x998.png",
"width": 1536,
"height": 998,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer-1920x1248.png",
"width": 1920,
"height": 1248,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/queer.png",
"width": 2000,
"height": 1300
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968701": {
"type": "attachments",
"id": "arts_13968701",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968701",
"found": true
},
"title": "Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000",
"publishDate": 1732659598,
"status": "inherit",
"parent": 0,
"modified": 1732659751,
"caption": "An installation view of 'Making Their Mark: Works from the Shah Garg Collection' at the Berkeley Art Museum and Pacific Film Archive.",
"credit": "Drew Altizer",
"altTag": "two people look closely at artwork on walls in gallery hung with colorful textile pieces",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-800x534.jpg",
"width": 800,
"height": 534,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000-1920x1281.jpg",
"width": 1920,
"height": 1281,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Install_Making-Their-Mark-Works-from-the-Shah-Garg-Collection_with-figures_00003_2000.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968659": {
"type": "attachments",
"id": "arts_13968659",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968659",
"found": true
},
"title": "naomi wood",
"publishDate": 1732648702,
"status": "inherit",
"parent": 13968657,
"modified": 1732648755,
"caption": "‘This Is Why We Can’t Have Nice Things’ by Naomi Wood.",
"credit": "Phoenix",
"altTag": "A book cover showing an illustration of a woman's face upside down. Only the nose, mouth and neck are visible.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-800x470.png",
"width": 800,
"height": 470,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-1020x599.png",
"width": 1020,
"height": 599,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-160x94.png",
"width": 160,
"height": 94,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-768x451.png",
"width": 768,
"height": 451,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-1536x902.png",
"width": 1536,
"height": 902,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1-1920x1127.png",
"width": 1920,
"height": 1127,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-1.png",
"width": 2000,
"height": 1174
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968626": {
"type": "attachments",
"id": "arts_13968626",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968626",
"found": true
},
"title": "blood freak",
"publishDate": 1732569780,
"status": "inherit",
"parent": 13968610,
"modified": 1732569829,
"caption": "‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it.",
"credit": "Clamil Productions",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1-800x607.png",
"width": 800,
"height": 607,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1-1020x773.png",
"width": 1020,
"height": 773,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1-160x121.png",
"width": 160,
"height": 121,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1-768x582.png",
"width": 768,
"height": 582,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1.png",
"width": 1195,
"height": 906
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968596": {
"type": "attachments",
"id": "arts_13968596",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968596",
"found": true
},
"title": "dead air",
"publishDate": 1732558060,
"status": "inherit",
"parent": 13968593,
"modified": 1732558093,
"caption": "‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove.",
"credit": "Rowman & Littlefield Publishers",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-800x536.png",
"width": 800,
"height": 536,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-1020x684.png",
"width": 1020,
"height": 684,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-768x515.png",
"width": 768,
"height": 515,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-1536x1030.png",
"width": 1536,
"height": 1030,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1-1920x1287.png",
"width": 1920,
"height": 1287,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1.png",
"width": 2000,
"height": 1341
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13969055": {
"type": "authors",
"id": "byline_arts_13969055",
"meta": {
"override": true
},
"slug": "byline_arts_13969055",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13969027": {
"type": "authors",
"id": "byline_arts_13969027",
"meta": {
"override": true
},
"slug": "byline_arts_13969027",
"name": "Maureen Corrigan, NPR",
"isLoading": false
},
"byline_arts_13968980": {
"type": "authors",
"id": "byline_arts_13968980",
"meta": {
"override": true
},
"slug": "byline_arts_13968980",
"name": "Jonathan Landrum Jr., Associated Press",
"isLoading": false
},
"byline_arts_13968936": {
"type": "authors",
"id": "byline_arts_13968936",
"meta": {
"override": true
},
"slug": "byline_arts_13968936",
"name": "Rob Merrill, Associated Press",
"isLoading": false
},
"byline_arts_13968744": {
"type": "authors",
"id": "byline_arts_13968744",
"meta": {
"override": true
},
"slug": "byline_arts_13968744",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13968657": {
"type": "authors",
"id": "byline_arts_13968657",
"meta": {
"override": true
},
"slug": "byline_arts_13968657",
"name": "Ann Levin, Associated Press",
"isLoading": false
},
"byline_arts_13968593": {
"type": "authors",
"id": "byline_arts_13968593",
"meta": {
"override": true
},
"slug": "byline_arts_13968593",
"name": "Andrew DeMillo, Associated Press",
"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": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_category_the-do-list": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"score": 13.103706
},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"title": "The Do List",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 50
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=the-do-list",
"seeMore": false,
"paginated": true,
"page": 50
}
},
{
"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_13969055": {
"type": "posts",
"id": "arts_13969055",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13969055",
"score": null,
"sort": [
1733413868000
]
},
"guestAuthors": [],
"slug": "unstoppable-movie-review-anthony-robles-inspirational-drama-wrestler-with-one-leg",
"title": "‘Unstoppable’ Is an Inspirational if Formulaic Drama About a Wrestler With One Leg",
"publishDate": 1733413868,
"format": "standard",
"headTitle": "‘Unstoppable’ Is an Inspirational if Formulaic Drama About a Wrestler With One Leg | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Anthony Robles’ story seems almost tailor made for a Hollywood film. Born with only one leg, his right, he overcame the prejudices of those around him and his own physical limitations to become a champion wrestler. Though coaches at the top wrestling programs couldn’t see his potential, he was undeterred, coasting on his own determination and his mother Judy’s (Jennifer Lopez) unwavering belief in him.\u003c/p>\n\u003cp>[aside postid='arts_13968835']The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxEEdR2ZTDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "William Goldenberg's directorial debut tells the triumphant true story of Anthony Robles.",
"status": "publish",
"parent": 0,
"modified": 1733363507,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 719
},
"headData": {
"title": "Jharrel Jerome Inspires in Wrestler Biopic, ‘Unstoppable’ | KQED",
"description": "William Goldenberg's directorial debut tells the triumphant true story of Anthony Robles.",
"ogTitle": "‘Unstoppable’ Is an Inspirational if Formulaic Drama About a Wrestler With One Leg",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Unstoppable’ Is an Inspirational if Formulaic Drama About a Wrestler With One Leg",
"twDescription": "",
"twImgId": "",
"socialTitle": "Jharrel Jerome Inspires in Wrestler Biopic, ‘Unstoppable’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Unstoppable’ Is an Inspirational if Formulaic Drama About a Wrestler With One Leg",
"datePublished": "2024-12-05T07:51:08-08:00",
"dateModified": "2024-12-04T17:51:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13969055/unstoppable-movie-review-anthony-robles-inspirational-drama-wrestler-with-one-leg",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Robles’ story seems almost tailor made for a Hollywood film. Born with only one leg, his right, he overcame the prejudices of those around him and his own physical limitations to become a champion wrestler. Though coaches at the top wrestling programs couldn’t see his potential, he was undeterred, coasting on his own determination and his mother Judy’s (Jennifer Lopez) unwavering belief in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968835",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\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/fxEEdR2ZTDw'\n title='//www.youtube.com/embed/fxEEdR2ZTDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13969006",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13969055/unstoppable-movie-review-anthony-robles-inspirational-drama-wrestler-with-one-leg",
"authors": [
"byline_arts_13969055"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_13238",
"arts_22313",
"arts_990"
],
"tags": [
"arts_21748",
"arts_8905",
"arts_10521",
"arts_769",
"arts_585"
],
"featImg": "arts_13969057",
"label": "arts_140"
},
"arts_13969027": {
"type": "posts",
"id": "arts_13969027",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13969027",
"score": null,
"sort": [
1733349782000
]
},
"guestAuthors": [],
"slug": "time-of-the-child-is-a-marvelous-blend-of-despair-and-redemption",
"title": "‘Time of the Child’ Is a Marvelous Blend of Despair and Redemption",
"publishDate": 1733349782,
"format": "aside",
"headTitle": "‘Time of the Child’ Is a Marvelous Blend of Despair and Redemption | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>[aside postid='arts_13968936']\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>[aside postid='arts_13968840']Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>[aside postid='arts_13968980']For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Niall Williams' latest novel avoids cliché by investing specificity and life into his Irish characters and places.",
"status": "publish",
"parent": 0,
"modified": 1733349894,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 780
},
"headData": {
"title": "Book Review: ‘Time of the Child’ by Niall Williams | KQED",
"description": "Niall Williams' latest novel avoids cliché by investing specificity and life into his Irish characters and places.",
"ogTitle": "‘Time of the Child’ Is a Marvelous Blend of Despair and Redemption",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Time of the Child’ Is a Marvelous Blend of Despair and Redemption",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Time of the Child’ by Niall Williams %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Time of the Child’ Is a Marvelous Blend of Despair and Redemption",
"datePublished": "2024-12-04T14:03:02-08:00",
"dateModified": "2024-12-04T14:04:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Maureen Corrigan, NPR",
"nprStoryId": "nx-s1-5215711",
"nprHtmlLink": "https://www.npr.org/2024/12/04/nx-s1-5215711/niall-williams-time-of-the-child-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-12-04T12:28:45.597-05:00",
"nprStoryDate": "2024-12-04T12:28:45.597-05:00",
"nprLastModifiedDate": "2024-12-04T15:10:07.525-05:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/12/20241204_fa_fd7d5a03-4cea-42f7-9226-e65a6775d000.mp3?d=448000&e=nx-s1-5215711",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13969027/time-of-the-child-is-a-marvelous-blend-of-despair-and-redemption",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/12/20241204_fa_fd7d5a03-4cea-42f7-9226-e65a6775d000.mp3?d=448000&e=nx-s1-5215711",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968936",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\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>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968840",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968980",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13969027/time-of-the-child-is-a-marvelous-blend-of-despair-and-redemption",
"authors": [
"byline_arts_13969027"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_22313"
],
"tags": [
"arts_5221",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13969031",
"label": "arts_140"
},
"arts_13968980": {
"type": "posts",
"id": "arts_13968980",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968980",
"score": null,
"sort": [
1733325313000
]
},
"guestAuthors": [],
"slug": "jay-zs-the-book-of-hov-exhibit-lives-up-to-its-name-and-becomes-a-book",
"title": "Jay-Z’s ‘The Book of Hov’ Exhibit Lives Up to Its Name and Becomes a Book",
"publishDate": 1733325313,
"format": "standard",
"headTitle": "Jay-Z’s ‘The Book of Hov’ Exhibit Lives Up to Its Name and Becomes a Book | KQED",
"labelTerm": {},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jay-z\">Jay-Z\u003c/a> ’s popular exhibit \u003ca href=\"https://www.thebookofhov.com/\">\u003cem>The Book of Hov\u003c/em>\u003c/a> in New York is about to live up to its name by becoming an actual book.\u003c/p>\n\u003cp>[aside postid='arts_13968608']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>[aside postid='arts_13968679']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The book serves as a time capsule of the New York City exhibition that celebrated Jay-Z’s life and work.",
"status": "publish",
"parent": 0,
"modified": 1744678950,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 391
},
"headData": {
"title": "Review: ‘The Book of Hov: A Tribute to Jay-Z’ | KQED",
"description": "The book serves as a time capsule of the New York City exhibition that celebrated Jay-Z’s life and work.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: ‘The Book of Hov: A Tribute to Jay-Z’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jay-Z’s ‘The Book of Hov’ Exhibit Lives Up to Its Name and Becomes a Book",
"datePublished": "2024-12-04T07:15:13-08:00",
"dateModified": "2025-04-14T18:02:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Jonathan Landrum Jr., Associated Press",
"nprStoryId": "kqed-13968980",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968980/jay-zs-the-book-of-hov-exhibit-lives-up-to-its-name-and-becomes-a-book",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jay-z\">Jay-Z\u003c/a> ’s popular exhibit \u003ca href=\"https://www.thebookofhov.com/\">\u003cem>The Book of Hov\u003c/em>\u003c/a> in New York is about to live up to its name by becoming an actual book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968608",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\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>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968679",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968980/jay-zs-the-book-of-hov-exhibit-lives-up-to-its-name-and-becomes-a-book",
"authors": [
"byline_arts_13968980"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_75",
"arts_22313"
],
"tags": [
"arts_831",
"arts_22296",
"arts_769",
"arts_585"
],
"featImg": "arts_13863996",
"label": "source_arts_13968980"
},
"arts_13968936": {
"type": "posts",
"id": "arts_13968936",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968936",
"score": null,
"sort": [
1733258359000
]
},
"guestAuthors": [],
"slug": "robin-cook-bellevue-book-review-thriller-haunted-psychiatric-hospital",
"title": "Robin Cook Sets His Latest Thriller in the Iconic Bellevue Psychiatric Hospital",
"publishDate": 1733258359,
"format": "aside",
"headTitle": "Robin Cook Sets His Latest Thriller in the Iconic Bellevue Psychiatric Hospital | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13968937\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png\" alt=\"A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘Bellevue’ by Robin Cook. \u003ccite>(G.P. Putnam's Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building on New York’s East Side that used to house Bellevue Psychiatric Hospital has inspired tales of horror from the likes of H.P. Lovecraft and served as the model for Arkham Asylum in fictional Gotham City. For novelist Robin Cook, who interned there in the 1960s, it’s the perfect setting for his latest medical thriller.\u003c/p>\n\u003cp>\u003cem>Bellevue\u003c/em> is set in the present day, but hearkens often to the hospital’s controversial and storied past. The plot centers around 23-year-old Mitt Fuller, embarking on his surgical residency at the iconic hospital. Mitt’s “long and impressive medical pedigree” goes back more than 400 years and includes three previous surgeons and a psychiatrist. It’s always been Mitt’s dream to follow in his forefathers’ footsteps.\u003c/p>\n\u003cp>[aside postid='arts_13968593']But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Cook interned at New York’s infamous psychiatric hospital in the 1960s. Now, it’s the perfect setting for his latest thriller.",
"status": "publish",
"parent": 0,
"modified": 1733258359,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 397
},
"headData": {
"title": "Book Review: ‘Bellevue’ by Robin Cook | KQED",
"description": "Cook interned at New York’s infamous psychiatric hospital in the 1960s. Now, it’s the perfect setting for his latest thriller.",
"ogTitle": "Robin Cook Sets His Latest Thriller in the Iconic Bellevue Psychiatric Hospital",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Robin Cook Sets His Latest Thriller in the Iconic Bellevue Psychiatric Hospital",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Bellevue’ by Robin Cook %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Robin Cook Sets His Latest Thriller in the Iconic Bellevue Psychiatric Hospital",
"datePublished": "2024-12-03T12:39:19-08:00",
"dateModified": "2024-12-03T12:39:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Rob Merrill, Associated Press",
"nprStoryId": "kqed-13968936",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968936/robin-cook-bellevue-book-review-thriller-haunted-psychiatric-hospital",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968937\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png\" alt=\"A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘Bellevue’ by Robin Cook. \u003ccite>(G.P. Putnam's Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building on New York’s East Side that used to house Bellevue Psychiatric Hospital has inspired tales of horror from the likes of H.P. Lovecraft and served as the model for Arkham Asylum in fictional Gotham City. For novelist Robin Cook, who interned there in the 1960s, it’s the perfect setting for his latest medical thriller.\u003c/p>\n\u003cp>\u003cem>Bellevue\u003c/em> is set in the present day, but hearkens often to the hospital’s controversial and storied past. The plot centers around 23-year-old Mitt Fuller, embarking on his surgical residency at the iconic hospital. Mitt’s “long and impressive medical pedigree” goes back more than 400 years and includes three previous surgeons and a psychiatrist. It’s always been Mitt’s dream to follow in his forefathers’ footsteps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968593",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\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/13968936/robin-cook-bellevue-book-review-thriller-haunted-psychiatric-hospital",
"authors": [
"byline_arts_13968936"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_22313"
],
"tags": [
"arts_5221",
"arts_769",
"arts_585"
],
"featImg": "arts_13968938",
"label": "arts_140"
},
"arts_13968922": {
"type": "posts",
"id": "arts_13968922",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968922",
"score": null,
"sort": [
1733252784000
]
},
"guestAuthors": [],
"slug": "kendrick-tickets-presale-code-san-francisco-oracle-park",
"title": "Ticket Alert: Kendrick Lamar at Oracle Park in San Francisco",
"publishDate": 1733252784,
"format": "standard",
"headTitle": "Ticket Alert: Kendrick Lamar at Oracle Park in San Francisco | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>[aside postID='arts_13968608']You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>[aside postID='arts_13960019']You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Kendrick and SZA will play in San Francisco on May 29, 2025. Here's how to get tickets. ",
"status": "publish",
"parent": 0,
"modified": 1733252925,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 458
},
"headData": {
"title": "How to Get Kendrick Lamar Tickets: Presale Code and Cash App Onsale | KQED",
"description": "Kendrick and SZA will play in San Francisco on May 29, 2025. Here's how to get tickets. ",
"ogTitle": "How to Get Kendrick Lamar Tickets for His San Francisco Show",
"ogDescription": "",
"ogImgId": "",
"twTitle": "How to Get Kendrick Lamar Tickets: Presale Code and Cash App Onsale",
"twDescription": "",
"twImgId": "",
"socialTitle": "How to Get Kendrick Lamar Tickets: Presale Code and Cash App Onsale %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: Kendrick Lamar at Oracle Park in San Francisco",
"datePublished": "2024-12-03T11:06:24-08:00",
"dateModified": "2024-12-03T11:08:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13968922",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13968922/kendrick-tickets-presale-code-san-francisco-oracle-park",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968608",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \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>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960019",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968922/kendrick-tickets-presale-code-san-francisco-oracle-park",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1774",
"arts_11466",
"arts_585",
"arts_700",
"arts_4802",
"arts_4798"
],
"featImg": "arts_13956955",
"label": "arts_140"
},
"arts_13968804": {
"type": "posts",
"id": "arts_13968804",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968804",
"score": null,
"sort": [
1732908135000
]
},
"guestAuthors": [],
"slug": "waitress-musical-san-francisco-playhouse-review",
"title": "‘Waitress’ Bakes Up Warmth — and Complexity — at San Francisco Playhouse",
"publishDate": 1732908135,
"format": "standard",
"headTitle": "‘Waitress’ Bakes Up Warmth — and Complexity — at San Francisco Playhouse | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>Waitress\u003c/em> is not a holiday musical, and I won’t try to \u003ca href=\"https://parade.com/1288946/samuelmurrian/is-die-hard-a-christmas-movie/\">boorishly\u003c/a> argue so. But it \u003cem>is\u003c/em> a story about love, and family, and muddling through somehow, with a wholesome and sweet payoff — a salve for the cold winter months. Plus, it’s about baking pies (he types, flecks of Thanksgiving flour still lining his cuticles).\u003c/p>\n\u003cp>Running through Jan. 18 at San Francisco Playhouse, \u003cem>Waitress\u003c/em> follows the travails of Jenna, a small-town diner waitress with an abusive husband who dreams of a better life. By inventing daily pie recipes based on her predicaments, she projects an alternate future for herself — one that derails when she absentmindedly sleeps with her husband and gets pregnant.\u003c/p>\n\u003cp>Jenna (Ruby Day) is trapped by economic, matrimonial and prenatal circumstances. Her fellow waitresses at the diner are trapped, too: the tottering Dawn (Sharon Shao) by self-doubt, the wisecracking Becky (Tanika Baptiste) by weary cynicism. Enter Jenna’s new-in-town gynecologist, Dr. Pomatter (Zeke Edmonds), add a dash of romantic spark, and you see where this recipe is leading. \u003c/p>\n\u003cfigure id=\"attachment_13968690\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sparks fly between Jenna (Ruby Day) and Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenna, Day strikes the right blend of folksy and inventive; she’s content and traditional but goes rogue when needed. Around Dawn and Becky, she’s open and supportive; around her doctor, she cautiously tries to avoid hopping out of one trap and into another. Only one man seems to fully loosen her guard: Joe (Louis Parnell), the elderly owner of the diner, an exacting curmudgeon who offers sagely bromides over the formica tabletop.\u003c/p>\n\u003cp>Meanwhile, Dawn longs for someone who understands her, and Shao sings the number “When He Sees Me” with a wonderful zig-zag between self-consciousness and hope. That person arrives in the form of Ogie (Michael Parrott), an amateur magician and clog dancer in bad pants who love-bombs Dawn; she runs toward rather than away from his red flags, and eventually, the audience does, too.\u003c/p>\n\u003cfigure id=\"attachment_13968693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn (Sharon Shao) is ambushed by overeager Ogie (Michael Parrott) in ‘Waitress,’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interplay between the employees of Joe’s Pie Diner is crucial to \u003cem>Waitress\u003c/em>, and director Susi Damilano maximizes the friction and synergies inherent to a powder-keg working environment. It wouldn’t be a true lunch counter without witty repartee, provided by Becky and line cook Cal (Dorian Lockett), who tear at each other’s throats. But if the diner staff can agree on one thing, it’s their disdain of Earl, Jenna’s husband. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earl is your typical insecure jerk — he drinks, pockets Jenna’s tips and demands she never love their baby more than him. He’s also not jerky enough; the character is a man-baby, yes, but Ben Euphrat could play it with even more bullheaded toxicity, or at least wear less fashionable jeans. (As Joe, Parnell could be more grouchy, too.)\u003c/p>\n\u003cfigure id=\"attachment_13968689\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl (Ben Euphrat) visits his wife Jenna (Ruby Day) at the diner in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day and Edmonds both blossom here, as Jenna dives deeper in lust with her married doctor. In the second act, just as the show starts to drag, Day brings the house down with “She Used to Be Mine,” singing it as if she’s sung it for three lifetimes, tearing every ounce of emotion from what’s left of Jenna’s soul. It’s a dam that’s finally burst, and on opening night, it got the longest applause. \u003c/p>\n\u003cp>It’s been six years since the \u003ca href=\"https://www.kqed.org/arts/13843169/if-you-love-the-film-waitress-the-musical-is-a-side-dish-worth-ordering\">Broadway tour of \u003cem>Waitress\u003c/em> came to town\u003c/a>, and San Francisco Playhouse has bet on audience’s appetites by investing in a stellar set by Jacquelyn Scott and a full onstage live band. The choreography by Nicole Helfer isn’t flashy — there are no razzle-dazzle synchronized dance numbers — but watching its careful precision unfold is like viewing a cross-section of a humming V8 engine with dozens of moving parts. A drum line is played on the lunch counter with wooden spoons. Jenna and Dr. Pomatter float through the air. Pies hover in circles like a reverie. \u003c/p>\n\u003cfigure id=\"attachment_13968691\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg\" alt=\"\" width=\"2000\" height=\"1247\" class=\"size-full wp-image-13968691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1920x1197.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenna (Ruby Day) dreams of Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Waitress\u003c/em> was written by women (the 2007 Adrienne Shelly movie was adapted for the stage by Jessie Nelson and Sara Bareilles), and it shows. Nestled within its well-worn small-town-diner tropes is a perspective that just \u003cem>feels\u003c/em> different, and not only in the dialogue. Jenna is a woman who chooses to have a baby but isn’t at all happy about it, a common dilemma not reflected enough in entertainment. \u003c/p>\n\u003cp>This is refreshing. It also lends the final scenes of \u003cem>Waitress\u003c/em> extra emotional weight, capturing the warmth \u003cem>and\u003c/em> the complexity inherent to the holiday season.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Saturday, Jan. 18 at San Francisco Playhouse (450 Post St., San Francisco). \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/waitress/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Life is messy at a small-town diner in this thoroughly enjoyable musical adaptation of the 2007 film. ",
"status": "publish",
"parent": 0,
"modified": 1732996958,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 866
},
"headData": {
"title": "‘Waitress’ at San Francisco Playhouse: Complexity Baked In | KQED",
"description": "Life is messy at a small-town diner in this thoroughly enjoyable musical adaptation of the 2007 film. ",
"ogTitle": "‘Waitress’ Bakes Up Warmth — and Complexity — at San Francisco Playhouse",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Waitress’ Bakes Up Warmth — and Complexity — at San Francisco Playhouse",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Waitress’ at San Francisco Playhouse: Complexity Baked In %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Waitress’ Bakes Up Warmth — and Complexity — at San Francisco Playhouse",
"datePublished": "2024-11-29T11:22:15-08:00",
"dateModified": "2024-11-30T12:02:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13968804",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13968804/waitress-musical-san-francisco-playhouse-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Waitress\u003c/em> is not a holiday musical, and I won’t try to \u003ca href=\"https://parade.com/1288946/samuelmurrian/is-die-hard-a-christmas-movie/\">boorishly\u003c/a> argue so. But it \u003cem>is\u003c/em> a story about love, and family, and muddling through somehow, with a wholesome and sweet payoff — a salve for the cold winter months. Plus, it’s about baking pies (he types, flecks of Thanksgiving flour still lining his cuticles).\u003c/p>\n\u003cp>Running through Jan. 18 at San Francisco Playhouse, \u003cem>Waitress\u003c/em> follows the travails of Jenna, a small-town diner waitress with an abusive husband who dreams of a better life. By inventing daily pie recipes based on her predicaments, she projects an alternate future for herself — one that derails when she absentmindedly sleeps with her husband and gets pregnant.\u003c/p>\n\u003cp>Jenna (Ruby Day) is trapped by economic, matrimonial and prenatal circumstances. Her fellow waitresses at the diner are trapped, too: the tottering Dawn (Sharon Shao) by self-doubt, the wisecracking Becky (Tanika Baptiste) by weary cynicism. Enter Jenna’s new-in-town gynecologist, Dr. Pomatter (Zeke Edmonds), add a dash of romantic spark, and you see where this recipe is leading. \u003c/p>\n\u003cfigure id=\"attachment_13968690\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sparks fly between Jenna (Ruby Day) and Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenna, Day strikes the right blend of folksy and inventive; she’s content and traditional but goes rogue when needed. Around Dawn and Becky, she’s open and supportive; around her doctor, she cautiously tries to avoid hopping out of one trap and into another. Only one man seems to fully loosen her guard: Joe (Louis Parnell), the elderly owner of the diner, an exacting curmudgeon who offers sagely bromides over the formica tabletop.\u003c/p>\n\u003cp>Meanwhile, Dawn longs for someone who understands her, and Shao sings the number “When He Sees Me” with a wonderful zig-zag between self-consciousness and hope. That person arrives in the form of Ogie (Michael Parrott), an amateur magician and clog dancer in bad pants who love-bombs Dawn; she runs toward rather than away from his red flags, and eventually, the audience does, too.\u003c/p>\n\u003cfigure id=\"attachment_13968693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn (Sharon Shao) is ambushed by overeager Ogie (Michael Parrott) in ‘Waitress,’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interplay between the employees of Joe’s Pie Diner is crucial to \u003cem>Waitress\u003c/em>, and director Susi Damilano maximizes the friction and synergies inherent to a powder-keg working environment. It wouldn’t be a true lunch counter without witty repartee, provided by Becky and line cook Cal (Dorian Lockett), who tear at each other’s throats. But if the diner staff can agree on one thing, it’s their disdain of Earl, Jenna’s husband. \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>Earl is your typical insecure jerk — he drinks, pockets Jenna’s tips and demands she never love their baby more than him. He’s also not jerky enough; the character is a man-baby, yes, but Ben Euphrat could play it with even more bullheaded toxicity, or at least wear less fashionable jeans. (As Joe, Parnell could be more grouchy, too.)\u003c/p>\n\u003cfigure id=\"attachment_13968689\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl (Ben Euphrat) visits his wife Jenna (Ruby Day) at the diner in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day and Edmonds both blossom here, as Jenna dives deeper in lust with her married doctor. In the second act, just as the show starts to drag, Day brings the house down with “She Used to Be Mine,” singing it as if she’s sung it for three lifetimes, tearing every ounce of emotion from what’s left of Jenna’s soul. It’s a dam that’s finally burst, and on opening night, it got the longest applause. \u003c/p>\n\u003cp>It’s been six years since the \u003ca href=\"https://www.kqed.org/arts/13843169/if-you-love-the-film-waitress-the-musical-is-a-side-dish-worth-ordering\">Broadway tour of \u003cem>Waitress\u003c/em> came to town\u003c/a>, and San Francisco Playhouse has bet on audience’s appetites by investing in a stellar set by Jacquelyn Scott and a full onstage live band. The choreography by Nicole Helfer isn’t flashy — there are no razzle-dazzle synchronized dance numbers — but watching its careful precision unfold is like viewing a cross-section of a humming V8 engine with dozens of moving parts. A drum line is played on the lunch counter with wooden spoons. Jenna and Dr. Pomatter float through the air. Pies hover in circles like a reverie. \u003c/p>\n\u003cfigure id=\"attachment_13968691\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg\" alt=\"\" width=\"2000\" height=\"1247\" class=\"size-full wp-image-13968691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1920x1197.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenna (Ruby Day) dreams of Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Waitress\u003c/em> was written by women (the 2007 Adrienne Shelly movie was adapted for the stage by Jessie Nelson and Sara Bareilles), and it shows. Nestled within its well-worn small-town-diner tropes is a perspective that just \u003cem>feels\u003c/em> different, and not only in the dialogue. Jenna is a woman who chooses to have a baby but isn’t at all happy about it, a common dilemma not reflected enough in entertainment. \u003c/p>\n\u003cp>This is refreshing. It also lends the final scenes of \u003cem>Waitress\u003c/em> extra emotional weight, capturing the warmth \u003cem>and\u003c/em> the complexity inherent to the holiday season.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Saturday, Jan. 18 at San Francisco Playhouse (450 Post St., San Francisco). \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/waitress/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968804/waitress-musical-san-francisco-playhouse-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313",
"arts_967"
],
"tags": [
"arts_10278",
"arts_1962",
"arts_769",
"arts_1321",
"arts_585"
],
"featImg": "arts_13968822",
"label": "arts_140"
},
"arts_13968735": {
"type": "posts",
"id": "arts_13968735",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968735",
"score": null,
"sort": [
1732823432000
]
},
"guestAuthors": [],
"slug": "andrea-bergen-drawing-room-annex-pigeons-raccoons-paper-art",
"title": "Andrea Bergen’s Art Hands the World Over to Its Scrappiest Scavengers",
"publishDate": 1732823432,
"format": "standard",
"headTitle": "Andrea Bergen’s Art Hands the World Over to Its Scrappiest Scavengers | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>What do you think would happen if \u003ca href=\"https://www.kqed.org/news/10939892/what-happens-to-raccoons-trapped-in-s-f\">raccoons\u003c/a> inherited the Earth?\u003c/p>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/andreajanebergen/?hl=en\">Andrea Bergen\u003c/a> posits that they’d be racing around on monster trucks, chowing down human snacks, slurping energy drinks and riding animatronic horses outside convenience stores. And if the content of her new exhibit, \u003cem>Modern Menagerie\u003c/em> — a group show at \u003ca href=\"https://drawingroominc.org/pages/the-annex\">The Drawing Room Annex\u003c/a> with \u003ca href=\"https://www.fuzzegrant.com/\">Fuzz E. Grant\u003c/a> and \u003ca href=\"http://richardmenendezfinearts.com/\">Richard Menendez\u003c/a> — is anything to go by, these trash pandas would also revel in hanging with their friends. (Those pals being possums, rats, pigeons and the occasional escaped zoo animal, naturally.)\u003c/p>\n\u003cp>[aside postid='arts_13968681']Bergen’s image of Earth in the future is one in which humanity has been erased, leaving behind tacky monuments to convenient living, and clearing a path for urban animals to run entirely unimpeded. Hers is a hypercolor, gleefully unhinged landscape where a rat can casually eat a Slim Jim while watching a fight between a seagull and a snake. This is a place where a (literal) vulture opts to raise its offspring inside a broken TV set. In this world, when aliens finally do invade, they concern themselves only with getting drunk on cheap liquor, letting their tiny green babies ride around on possums, and abducting cute dogs.\u003c/p>\n\u003cp>“This is kind of my way of dealing with the idea of climate change and how horrible it is,” Bergen tells KQED Arts, “and proposing this alternate future where everything is going to be okay — for the animals at least.”\u003c/p>\n\u003cfigure id=\"attachment_13968736\" class=\"wp-caption aligncenter\" style=\"max-width: 1506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg\" alt=\"An artwork depicted a seagull wrestling with a snake on a hillside, while a rat watches on.\" width=\"1506\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1157x1536.jpg 1157w\" sizes=\"auto, (max-width: 1506px) 100vw, 1506px\">\u003cfigcaption class=\"wp-caption-text\">‘Prickly Pear Showdown,’ 2024. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compounding the unusual nature of Bergen’s compositions are the materials she most likes to work with: paper and gel medium. The Oakland-born \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> graduate constructs her art by hand cutting intricate shapes one by one, out of colored paper. She does this using very sharp scissors, then lays those pieces down, slowly building them into complex and texturally wondrous scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s just more satisfying [for me] than painting,” Bergen explains. “I really wanted a graphic quality that I feel too impatient to achieve with paint. The paper gives an immediate saturation and opacity.”\u003c/p>\n\u003cp>Bergen does not, she reassures KQED Arts, ever pre-cut paper before she’s ready to apply it, and she very rarely uses blades to achieve her clean edges. This painstaking process creates minuscule details that work together to mind-bending overall effect.\u003c/p>\n\u003cfigure id=\"attachment_13968791\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg\" alt=\"A paper collage artwork featuring desert landscapes, a fire outbreak and raccoons, monkeys, big cats and possums behaving debaucherously.\" width=\"2000\" height=\"1467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1920x1408.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Good, The Bad, and The Buccee’s’ by Andrea Bergen. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not all of Bergen’s intricate moves are immediately obvious to the viewer; they’re even tougher to capture and convey in photographs. In person though, her compositions act like a sort of \u003cem>Where’s Waldo?\u003c/em> for grown-ups — except this time, the final goal is pure, hero-less anarchy and hedonistic chaos for the hell of it. And no wonder. The way Bergen designs her pieces is often off the cuff.\u003c/p>\n\u003cp>“I’ll block out the big things on the surface that I’m working on,” Bergen explains, “but then it’s improvisational. I just fill up the whole thing until it feels finished.”\u003c/p>\n\u003cfigure id=\"attachment_13968793\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg\" alt=\"A giant paper mache blue pigeon mid-flight with a pink donut around its neck.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Big Donut Pigeon’ by Andrea Bergen, hanging from the ceiling inside The Drawing Room Annex, San Francisco. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, Bergen has expanded her output by creating highly unusual sculptures out of cardboard and papier-mâché. These figures are her artworks brought to surreal, hilarious, 3D life. \u003cem>Modern Menagerie\u003c/em> includes three giant flying pigeons carrying snacks to their destinations, a huge seated donkey, a wall-climbing tiger, a mischievous goat, a mandrill (with a very special bright red rear end), a raccoon eating a big burger and a bug-eyed, Monster Energy-drinking chihuahua.\u003c/p>\n\u003cp>“It’s kind of a distillation of humanity’s footprint on nature,” Bergen says, “and how I envision the future after we’re gone.”\u003c/p>\n\u003cp>If the animals do one day inherit the Earth and it’s anything like Bergen’s vision, their future will be uproarious.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://drawingroominc.org/pages/modern-menagerie\">Modern Menagerie\u003c/a>,’ featuring work by Andrea Bergen, Fuzz E. Grant and Richard Menendez opens at The Drawing Room Annex (599 Valencia St., San Francisco) on Nov. 30, 2024 at 5 p.m. The show runs through Jan. 12, 2025.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "With layers of colored paper, the San Francisco artist depicts raccoons and pigeons in a human-free fever dream.",
"status": "publish",
"parent": 0,
"modified": 1733802016,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 747
},
"headData": {
"title": "Artist Andrea Bergen Gifts Earth Back to the Animals | KQED",
"description": "With layers of colored paper, the San Francisco artist depicts raccoons and pigeons in a human-free fever dream.",
"ogTitle": "Andrea Bergen’s Art Hands the World Over to Its Scrappiest Scavengers",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Andrea Bergen’s Art Hands the World Over to Its Scrappiest Scavengers",
"twDescription": "",
"twImgId": "",
"socialTitle": "Artist Andrea Bergen Gifts Earth Back to the Animals %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Andrea Bergen’s Art Hands the World Over to Its Scrappiest Scavengers",
"datePublished": "2024-11-28T11:50:32-08:00",
"dateModified": "2024-12-09T19:40:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/b8be557e-53a5-4bcf-8097-b23d00024474/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13968735",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13968735/andrea-bergen-drawing-room-annex-pigeons-raccoons-paper-art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you think would happen if \u003ca href=\"https://www.kqed.org/news/10939892/what-happens-to-raccoons-trapped-in-s-f\">raccoons\u003c/a> inherited the Earth?\u003c/p>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/andreajanebergen/?hl=en\">Andrea Bergen\u003c/a> posits that they’d be racing around on monster trucks, chowing down human snacks, slurping energy drinks and riding animatronic horses outside convenience stores. And if the content of her new exhibit, \u003cem>Modern Menagerie\u003c/em> — a group show at \u003ca href=\"https://drawingroominc.org/pages/the-annex\">The Drawing Room Annex\u003c/a> with \u003ca href=\"https://www.fuzzegrant.com/\">Fuzz E. Grant\u003c/a> and \u003ca href=\"http://richardmenendezfinearts.com/\">Richard Menendez\u003c/a> — is anything to go by, these trash pandas would also revel in hanging with their friends. (Those pals being possums, rats, pigeons and the occasional escaped zoo animal, naturally.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968681",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Bergen’s image of Earth in the future is one in which humanity has been erased, leaving behind tacky monuments to convenient living, and clearing a path for urban animals to run entirely unimpeded. Hers is a hypercolor, gleefully unhinged landscape where a rat can casually eat a Slim Jim while watching a fight between a seagull and a snake. This is a place where a (literal) vulture opts to raise its offspring inside a broken TV set. In this world, when aliens finally do invade, they concern themselves only with getting drunk on cheap liquor, letting their tiny green babies ride around on possums, and abducting cute dogs.\u003c/p>\n\u003cp>“This is kind of my way of dealing with the idea of climate change and how horrible it is,” Bergen tells KQED Arts, “and proposing this alternate future where everything is going to be okay — for the animals at least.”\u003c/p>\n\u003cfigure id=\"attachment_13968736\" class=\"wp-caption aligncenter\" style=\"max-width: 1506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg\" alt=\"An artwork depicted a seagull wrestling with a snake on a hillside, while a rat watches on.\" width=\"1506\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1157x1536.jpg 1157w\" sizes=\"auto, (max-width: 1506px) 100vw, 1506px\">\u003cfigcaption class=\"wp-caption-text\">‘Prickly Pear Showdown,’ 2024. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compounding the unusual nature of Bergen’s compositions are the materials she most likes to work with: paper and gel medium. The Oakland-born \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> graduate constructs her art by hand cutting intricate shapes one by one, out of colored paper. She does this using very sharp scissors, then lays those pieces down, slowly building them into complex and texturally wondrous scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s just more satisfying [for me] than painting,” Bergen explains. “I really wanted a graphic quality that I feel too impatient to achieve with paint. The paper gives an immediate saturation and opacity.”\u003c/p>\n\u003cp>Bergen does not, she reassures KQED Arts, ever pre-cut paper before she’s ready to apply it, and she very rarely uses blades to achieve her clean edges. This painstaking process creates minuscule details that work together to mind-bending overall effect.\u003c/p>\n\u003cfigure id=\"attachment_13968791\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg\" alt=\"A paper collage artwork featuring desert landscapes, a fire outbreak and raccoons, monkeys, big cats and possums behaving debaucherously.\" width=\"2000\" height=\"1467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1920x1408.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Good, The Bad, and The Buccee’s’ by Andrea Bergen. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not all of Bergen’s intricate moves are immediately obvious to the viewer; they’re even tougher to capture and convey in photographs. In person though, her compositions act like a sort of \u003cem>Where’s Waldo?\u003c/em> for grown-ups — except this time, the final goal is pure, hero-less anarchy and hedonistic chaos for the hell of it. And no wonder. The way Bergen designs her pieces is often off the cuff.\u003c/p>\n\u003cp>“I’ll block out the big things on the surface that I’m working on,” Bergen explains, “but then it’s improvisational. I just fill up the whole thing until it feels finished.”\u003c/p>\n\u003cfigure id=\"attachment_13968793\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg\" alt=\"A giant paper mache blue pigeon mid-flight with a pink donut around its neck.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Big Donut Pigeon’ by Andrea Bergen, hanging from the ceiling inside The Drawing Room Annex, San Francisco. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, Bergen has expanded her output by creating highly unusual sculptures out of cardboard and papier-mâché. These figures are her artworks brought to surreal, hilarious, 3D life. \u003cem>Modern Menagerie\u003c/em> includes three giant flying pigeons carrying snacks to their destinations, a huge seated donkey, a wall-climbing tiger, a mischievous goat, a mandrill (with a very special bright red rear end), a raccoon eating a big burger and a bug-eyed, Monster Energy-drinking chihuahua.\u003c/p>\n\u003cp>“It’s kind of a distillation of humanity’s footprint on nature,” Bergen says, “and how I envision the future after we’re gone.”\u003c/p>\n\u003cp>If the animals do one day inherit the Earth and it’s anything like Bergen’s vision, their future will be uproarious.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://drawingroominc.org/pages/modern-menagerie\">Modern Menagerie\u003c/a>,’ featuring work by Andrea Bergen, Fuzz E. Grant and Richard Menendez opens at The Drawing Room Annex (599 Valencia St., San Francisco) on Nov. 30, 2024 at 5 p.m. The show runs through Jan. 12, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968735/andrea-bergen-drawing-room-annex-pigeons-raccoons-paper-art",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313",
"arts_70"
],
"tags": [
"arts_9124",
"arts_10278",
"arts_585"
],
"featImg": "arts_13968795",
"label": "arts_140"
},
"arts_13968744": {
"type": "posts",
"id": "arts_13968744",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968744",
"score": null,
"sort": [
1732736730000
]
},
"guestAuthors": [],
"slug": "queer-movie-review-william-burroughs-daniel-craig-mexico-lgbtq-1950s",
"title": "Daniel Craig Is a Revelation in ‘Queer,’ a Trippy Tale of Longing",
"publishDate": 1732736730,
"format": "standard",
"headTitle": "Daniel Craig Is a Revelation in ‘Queer,’ a Trippy Tale of Longing | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>One of the first real signs that \u003cem>Queer\u003c/em> is going to be an unconventional movie is when Daniel Craig in a linen suit saunters through Mexico City during the early ‘50s and the soundtrack blasts a song by Nirvana.\u003c/p>\n\u003cp>It’s a pretty nifty way to explain this story of a man unmoored by time, geography and himself. Craig plays William Lee, an American hiding out in Mexico who spends his time going from bar to bar, knocking back tequila or mescal.\u003c/p>\n\u003cp>[aside postid='arts_13968738']Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ltinrfX03S4\u003c/p>\n\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>[aside postid='arts_13968600']There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>[aside postid='arts_13968446']The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The lyrical film is based on a confessional novella written by William S. Burroughs, years before he found fame.",
"status": "publish",
"parent": 0,
"modified": 1732729754,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 811
},
"headData": {
"title": "Movie Review: ‘Queer’ Is One of Daniel Craig’s Best Roles | KQED",
"description": "The lyrical film is based on a confessional novella written by William S. Burroughs, years before he found fame.",
"ogTitle": "Daniel Craig Is a Revelation in ‘Queer,’ a Trippy Tale of Longing",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Daniel Craig Is a Revelation in ‘Queer,’ a Trippy Tale of Longing",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Queer’ Is One of Daniel Craig’s Best Roles %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Daniel Craig Is a Revelation in ‘Queer,’ a Trippy Tale of Longing",
"datePublished": "2024-11-27T11:45:30-08:00",
"dateModified": "2024-11-27T09:49:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968744/queer-movie-review-william-burroughs-daniel-craig-mexico-lgbtq-1950s",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the first real signs that \u003cem>Queer\u003c/em> is going to be an unconventional movie is when Daniel Craig in a linen suit saunters through Mexico City during the early ‘50s and the soundtrack blasts a song by Nirvana.\u003c/p>\n\u003cp>It’s a pretty nifty way to explain this story of a man unmoored by time, geography and himself. Craig plays William Lee, an American hiding out in Mexico who spends his time going from bar to bar, knocking back tequila or mescal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968738",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\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>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\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/ltinrfX03S4'\n title='//www.youtube.com/embed/ltinrfX03S4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968600",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968446",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968744/queer-movie-review-william-burroughs-daniel-craig-mexico-lgbtq-1950s",
"authors": [
"byline_arts_13968744"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_10772",
"arts_8905",
"arts_3226",
"arts_769",
"arts_585"
],
"featImg": "arts_13968747",
"label": "arts_140"
},
"arts_13968681": {
"type": "posts",
"id": "arts_13968681",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968681",
"score": null,
"sort": [
1732661848000
]
},
"guestAuthors": [],
"slug": "making-their-mark-bampfa-shah-garg-collection-review",
"title": "Women Make ‘Their Mark’ in Elegant BAMPFA Show",
"publishDate": 1732661848,
"format": "standard",
"headTitle": "Women Make ‘Their Mark’ in Elegant BAMPFA Show | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>I am of two minds when it comes to public museums exhibiting private collections. One mind grumbles, the other respects.\u003c/p>\n\u003cp>Collectors with the funds to support their art-buying habits can accumulate incredible amounts of work by “great” artists (see the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">Fisher Collection\u003c/a> at the San Francisco Museum of Modern Art). They are free to pursue their desires as they see fit, without the democratizing goal of fleshing out a museum’s holdings \u003ci>beyond\u003c/i> those “great” artists (see again, the Fisher Collection).\u003c/p>\n\u003cp>Collectors can also lean into niche fields (see Eli Leon’s \u003ca href=\"https://bampfa.org/news/bampfa-receives-historic-bequest-nearly-three-thousand-quilts-african-american-artists\">African American quilts\u003c/a>, now donated to the Berkeley Art Museum and Pacific Film Archive; Pamela and Richard Kramlich’s focus on \u003ca href=\"https://www.kramlichcollection.org/\">time-based media\u003c/a>; or Rene di Rosa’s penchant for \u003ca href=\"https://www.dirosaart.org/about/history/\">funk art\u003c/a>). Such focus allows them to enact monomaniacal, sometimes visionary approaches to preserving art that might otherwise be undervalued, or even lost to time. \u003c/p>\n\u003cp>All to say: it’s complicated. Which brings us to \u003ci>\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>\u003c/i>, on view at BAMPFA through April 20, 2025.\u003c/p>\n\u003cfigure id=\"attachment_13968700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg\" alt=\"woman in bright red dress poses in front of high pedestal with ceramics and sculptures on it\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Komal Shah poses in front the ‘Craft is Art’ section of ‘Making Their Mark’ at BAMPFA. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Making Their Mark\u003c/i> is, hands down, a lovely show. The Shah Garg Collection, created by Bay Area philanthropist Komal Shah and her husband Gaurav Garg, has turned acquiring art into a political statement about the earnings gap between white men and … everyone else. And this presentation of over 70 women artists proves gender has nothing to do with the quality, scale or material of one’s artistic output.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which we hopefully all know. But it’s always nice to witness that fact with one’s own eyeballs.\u003c/p>\n\u003cp>The show is filled with monumental pieces, in terms of both size and art historical import. Dominating the former, Mary Weatherford’s \u003ci>Light Falling Like a Broken Chain; Paradise\u003c/i> (2021) is a 24-foot-wide swirl of luminous, rainbow-hued Flashe on linen, a painting of immense physicality that conjures images of giant, soaking-wet brushes.\u003c/p>\n\u003cfigure id=\"attachment_13968703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg\" alt=\"two giant colorful abstract expressionist paintings and a bright green punched monolith sculpture\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ with work (L to R) by Joan Mitchell, Mary Weatherford and Aria Dean. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the latter, the show opens with Janet Sobel’s much humbler \u003ci>Untitled\u003c/i> (1946), an all-over composition of dripped paint mixed with sand. A simply rendered face peers through her dynamic squiggles of black, red and cornflower blue. We learn that Jackson Pollock saw Sobel’s work in the early 1940s, before his \u003ca href=\"https://www.moma.org/collection/works/80170\">1946 foray into drip painting\u003c/a>. A woman in the background, indeed. \u003c/p>\n\u003cp>It’s some of the older pieces in \u003ci>Making Their Mark\u003c/i> that are the most exciting to see, and the majority of those are contained within the “Luminous Abstraction” section of the show. Here we get Leonore Tawney’s elegant black-and-ivory weaving \u003ci>Inquisition\u003c/i> (1961), Rosemarie Castoro’s languid sculptural relief \u003ci>Gentless (Brushstroke)\u003c/i> (1972), a 1978 Howardena Pindell and a 1969 pour piece from Lynda Benglis. \u003c/p>\n\u003cp>Yes, there are examples in \u003ci>Making Their Mark\u003c/i> of women working in small-scale, craft-adjacent ways, or creating depictions of their own bodily experiences, but there’s more of a “yes, and” emphasis here. Yes, an elegant Toshiko Takaezu ceramic vessel, \u003ci>and\u003c/i> a Simone Leigh bronze. Yes, an eyeball-sizzling Freedom Quilting Bee piece, \u003ci>and\u003c/i> Jacquline Humphries’ digitally enlarged, stenciled canvas pattern.\u003c/p>\n\u003cfigure id=\"attachment_13968704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg\" alt=\"Large red, green, yellow and blue quilt with zig-zag pattern next to two paintings, one black and one white with a few colorful small squares.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ at BAMPFA with the Freedom Quilting Bee’s ‘Pattern to Joseph’s Coat,’ at left and Mary Heilmann’s ‘San Francisco (Night)’ and ‘San Francisco (Day)’ at right. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Shah Garg Collection has a certain taste, but to our benefit, that is good taste. The collection tends toward the colorful and the abstract, and indulges in a variety of delicious textures. Its focus, while slightly more narrow than “all art,” leaves plenty of room for curators Cecilia Alemani (of the High Line) and Margot Norton (BAMPFA’s chief curator) to arrange the selected work into slightly unruly, yet educational groupings.\u003c/p>\n\u003cp>This exhibition also marks the beginning of a significant relationship between the Shah Garg Foundation and the museum, which includes the launch of a Women Artists Research Fund and the promised donation of “select artworks” to BAMPFA’s permanent collection. Part of me bristles at the ethically gray area of exhibiting the collection of a major museum donor, and yet this project feels more pure than your average pay-to-play. \u003c/p>\n\u003cp>Some day, hopefully, we won’t need such corrective measures.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 20, 2025.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A group show curated from the Shah Garg Collection is a corrective measure in a still-uneven art world.",
"status": "publish",
"parent": 0,
"modified": 1732662008,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 820
},
"headData": {
"title": "‘Making Their Mark’ at BAMPFA: A Focus on Women Artists | KQED",
"description": "A group show curated from the Shah Garg Collection is a corrective measure in a still-uneven art world.",
"ogTitle": "Women Make ‘Their Mark’ in Elegant BAMPFA Show",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Women Make ‘Their Mark’ in Elegant BAMPFA Show",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Making Their Mark’ at BAMPFA: A Focus on Women Artists %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Women Make ‘Their Mark’ in Elegant BAMPFA Show",
"datePublished": "2024-11-26T14:57:28-08:00",
"dateModified": "2024-11-26T15:00:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13968681",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13968681/making-their-mark-bampfa-shah-garg-collection-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am of two minds when it comes to public museums exhibiting private collections. One mind grumbles, the other respects.\u003c/p>\n\u003cp>Collectors with the funds to support their art-buying habits can accumulate incredible amounts of work by “great” artists (see the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">Fisher Collection\u003c/a> at the San Francisco Museum of Modern Art). They are free to pursue their desires as they see fit, without the democratizing goal of fleshing out a museum’s holdings \u003ci>beyond\u003c/i> those “great” artists (see again, the Fisher Collection).\u003c/p>\n\u003cp>Collectors can also lean into niche fields (see Eli Leon’s \u003ca href=\"https://bampfa.org/news/bampfa-receives-historic-bequest-nearly-three-thousand-quilts-african-american-artists\">African American quilts\u003c/a>, now donated to the Berkeley Art Museum and Pacific Film Archive; Pamela and Richard Kramlich’s focus on \u003ca href=\"https://www.kramlichcollection.org/\">time-based media\u003c/a>; or Rene di Rosa’s penchant for \u003ca href=\"https://www.dirosaart.org/about/history/\">funk art\u003c/a>). Such focus allows them to enact monomaniacal, sometimes visionary approaches to preserving art that might otherwise be undervalued, or even lost to time. \u003c/p>\n\u003cp>All to say: it’s complicated. Which brings us to \u003ci>\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>\u003c/i>, on view at BAMPFA through April 20, 2025.\u003c/p>\n\u003cfigure id=\"attachment_13968700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg\" alt=\"woman in bright red dress poses in front of high pedestal with ceramics and sculptures on it\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Komal Shah poses in front the ‘Craft is Art’ section of ‘Making Their Mark’ at BAMPFA. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Making Their Mark\u003c/i> is, hands down, a lovely show. The Shah Garg Collection, created by Bay Area philanthropist Komal Shah and her husband Gaurav Garg, has turned acquiring art into a political statement about the earnings gap between white men and … everyone else. And this presentation of over 70 women artists proves gender has nothing to do with the quality, scale or material of one’s artistic output.\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>Which we hopefully all know. But it’s always nice to witness that fact with one’s own eyeballs.\u003c/p>\n\u003cp>The show is filled with monumental pieces, in terms of both size and art historical import. Dominating the former, Mary Weatherford’s \u003ci>Light Falling Like a Broken Chain; Paradise\u003c/i> (2021) is a 24-foot-wide swirl of luminous, rainbow-hued Flashe on linen, a painting of immense physicality that conjures images of giant, soaking-wet brushes.\u003c/p>\n\u003cfigure id=\"attachment_13968703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg\" alt=\"two giant colorful abstract expressionist paintings and a bright green punched monolith sculpture\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ with work (L to R) by Joan Mitchell, Mary Weatherford and Aria Dean. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the latter, the show opens with Janet Sobel’s much humbler \u003ci>Untitled\u003c/i> (1946), an all-over composition of dripped paint mixed with sand. A simply rendered face peers through her dynamic squiggles of black, red and cornflower blue. We learn that Jackson Pollock saw Sobel’s work in the early 1940s, before his \u003ca href=\"https://www.moma.org/collection/works/80170\">1946 foray into drip painting\u003c/a>. A woman in the background, indeed. \u003c/p>\n\u003cp>It’s some of the older pieces in \u003ci>Making Their Mark\u003c/i> that are the most exciting to see, and the majority of those are contained within the “Luminous Abstraction” section of the show. Here we get Leonore Tawney’s elegant black-and-ivory weaving \u003ci>Inquisition\u003c/i> (1961), Rosemarie Castoro’s languid sculptural relief \u003ci>Gentless (Brushstroke)\u003c/i> (1972), a 1978 Howardena Pindell and a 1969 pour piece from Lynda Benglis. \u003c/p>\n\u003cp>Yes, there are examples in \u003ci>Making Their Mark\u003c/i> of women working in small-scale, craft-adjacent ways, or creating depictions of their own bodily experiences, but there’s more of a “yes, and” emphasis here. Yes, an elegant Toshiko Takaezu ceramic vessel, \u003ci>and\u003c/i> a Simone Leigh bronze. Yes, an eyeball-sizzling Freedom Quilting Bee piece, \u003ci>and\u003c/i> Jacquline Humphries’ digitally enlarged, stenciled canvas pattern.\u003c/p>\n\u003cfigure id=\"attachment_13968704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg\" alt=\"Large red, green, yellow and blue quilt with zig-zag pattern next to two paintings, one black and one white with a few colorful small squares.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ at BAMPFA with the Freedom Quilting Bee’s ‘Pattern to Joseph’s Coat,’ at left and Mary Heilmann’s ‘San Francisco (Night)’ and ‘San Francisco (Day)’ at right. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Shah Garg Collection has a certain taste, but to our benefit, that is good taste. The collection tends toward the colorful and the abstract, and indulges in a variety of delicious textures. Its focus, while slightly more narrow than “all art,” leaves plenty of room for curators Cecilia Alemani (of the High Line) and Margot Norton (BAMPFA’s chief curator) to arrange the selected work into slightly unruly, yet educational groupings.\u003c/p>\n\u003cp>This exhibition also marks the beginning of a significant relationship between the Shah Garg Foundation and the museum, which includes the launch of a Women Artists Research Fund and the promised donation of “select artworks” to BAMPFA’s permanent collection. Part of me bristles at the ethically gray area of exhibiting the collection of a major museum donor, and yet this project feels more pure than your average pay-to-play. \u003c/p>\n\u003cp>Some day, hopefully, we won’t need such corrective measures.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 20, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968681/making-their-mark-bampfa-shah-garg-collection-review",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313",
"arts_70"
],
"tags": [
"arts_2227",
"arts_10278",
"arts_769",
"arts_585"
],
"featImg": "arts_13968701",
"label": "arts_140"
},
"arts_13968657": {
"type": "posts",
"id": "arts_13968657",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968657",
"score": null,
"sort": [
1732649128000
]
},
"guestAuthors": [],
"slug": "naomi-wood-short-story-collection-book-review-this-is-why-we-cant-have-nice-things",
"title": "Naomi Wood Is Out With an Astonishingly Good Short Story Collection",
"publishDate": 1732649128,
"format": "aside",
"headTitle": "Naomi Wood Is Out With an Astonishingly Good Short Story Collection | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13968658\" class=\"wp-caption aligncenter\" style=\"max-width: 752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03%E2%80%AFAM.png\" alt=\"A book cover showing an illustration of a woman's face upside down. Only the nose, mouth and neck are visible.\" width=\"752\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM.png 752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-160x241.png 160w\" sizes=\"(max-width: 752px) 100vw, 752px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Why We Can’t Have Nice Things’ by Naomi Wood. \u003ccite>(Phoenix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naomi Wood, an English author not yet well known in the U.S., has written three historical novels, including the well-regarded \u003cem>Mrs. Hemingway\u003c/em>, about the four wives of Ernest Hemingway. During the Covid lockdowns, when her kids were confined at home and she had less time to herself, she turned to the short story form. The result, \u003cem>This Is Why We Can’t Have Nice Things\u003c/em>, is an astonishingly good debut collection that often incorporates the bizarre, life-altering reality of the pandemic into the plots.\u003c/p>\n\u003cp>[aside postid='arts_13968593']The main characters tend to be 30-something women trying to have it all. Kids, relationships, satisfying careers — the “seductive slipstream of productivity.” They also strive to be good citizens of an ailing planet and have sex with their partners more than once in a blue moon.\u003c/p>\n\u003cp>In “Comorbidities,” which won the 2023 BBC National Short Story Award, a couple with young children tries to spice up their marriage by making a sex tape. In an abundance of caution, the man pauses the action to read up on digital security and adjust his devices. Hours later, when the glow has worn off, the woman has a panic attack, worrying it might somehow end up in the “deadly slime of the internet.”\u003c/p>\n\u003cp>Her female protagonists happen to be a lusty bunch, enjoying sex in flavors that some might consider kinky. But once the little ones arrive, everything changes. Fathers might leave, but these mothers wouldn’t dream of it. “They’re the grand love affair, in the end. The kids. No one else,” says a character in the story “A/A/A/A.”\u003c/p>\n\u003cp>But don’t think for a minute that they’re selfless or saintly. Feminism has freed them to enter the 21st century labor market and take on high-powered jobs, where they prove to be just as scheming, selfish and manipulative as the men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Recently, I had started to notice my bad energy, and I began to follow it, wondering where it would take me,” says the main character in “Wedding Day.” And where was that? To a scheme to disrupt her ex-boyfriend’s wedding by insisting he leave the party early to bring their daughter home for her bedtime. But revenge is bittersweet because once he is back in the apartment they used to share, she is overcome with painful memories of their powerful erotic attraction.\u003c/p>\n\u003cp>[aside postid='arts_13968272']For all their flaws — and they have lots of them — the women in these delectable stories are insanely fun to be with because they are so fully imagined and true to the way we live now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Is Why We Can’t Have Nice Things by Naomi Wood is out now, via Phoenix.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Wood's stories often brilliantly incorporate the bizarre, life-altering reality of the pandemic into the plots.",
"status": "publish",
"parent": 0,
"modified": 1732649128,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 498
},
"headData": {
"title": "Book Review: ‘This Is Why We Can’t Have Nice Things’ | KQED",
"description": "Wood's stories often brilliantly incorporate the bizarre, life-altering reality of the pandemic into the plots.",
"ogTitle": "Naomi Wood Is Out With an Astonishingly Good Short Story Collection",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Naomi Wood Is Out With an Astonishingly Good Short Story Collection",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘This Is Why We Can’t Have Nice Things’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Naomi Wood Is Out With an Astonishingly Good Short Story Collection",
"datePublished": "2024-11-26T11:25:28-08:00",
"dateModified": "2024-11-26T11:25:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Ann Levin, Associated Press",
"nprStoryId": "kqed-13968657",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968657/naomi-wood-short-story-collection-book-review-this-is-why-we-cant-have-nice-things",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968658\" class=\"wp-caption aligncenter\" style=\"max-width: 752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03%E2%80%AFAM.png\" alt=\"A book cover showing an illustration of a woman's face upside down. Only the nose, mouth and neck are visible.\" width=\"752\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM.png 752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-160x241.png 160w\" sizes=\"(max-width: 752px) 100vw, 752px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Why We Can’t Have Nice Things’ by Naomi Wood. \u003ccite>(Phoenix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naomi Wood, an English author not yet well known in the U.S., has written three historical novels, including the well-regarded \u003cem>Mrs. Hemingway\u003c/em>, about the four wives of Ernest Hemingway. During the Covid lockdowns, when her kids were confined at home and she had less time to herself, she turned to the short story form. The result, \u003cem>This Is Why We Can’t Have Nice Things\u003c/em>, is an astonishingly good debut collection that often incorporates the bizarre, life-altering reality of the pandemic into the plots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968593",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The main characters tend to be 30-something women trying to have it all. Kids, relationships, satisfying careers — the “seductive slipstream of productivity.” They also strive to be good citizens of an ailing planet and have sex with their partners more than once in a blue moon.\u003c/p>\n\u003cp>In “Comorbidities,” which won the 2023 BBC National Short Story Award, a couple with young children tries to spice up their marriage by making a sex tape. In an abundance of caution, the man pauses the action to read up on digital security and adjust his devices. Hours later, when the glow has worn off, the woman has a panic attack, worrying it might somehow end up in the “deadly slime of the internet.”\u003c/p>\n\u003cp>Her female protagonists happen to be a lusty bunch, enjoying sex in flavors that some might consider kinky. But once the little ones arrive, everything changes. Fathers might leave, but these mothers wouldn’t dream of it. “They’re the grand love affair, in the end. The kids. No one else,” says a character in the story “A/A/A/A.”\u003c/p>\n\u003cp>But don’t think for a minute that they’re selfless or saintly. Feminism has freed them to enter the 21st century labor market and take on high-powered jobs, where they prove to be just as scheming, selfish and manipulative as the men.\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>“Recently, I had started to notice my bad energy, and I began to follow it, wondering where it would take me,” says the main character in “Wedding Day.” And where was that? To a scheme to disrupt her ex-boyfriend’s wedding by insisting he leave the party early to bring their daughter home for her bedtime. But revenge is bittersweet because once he is back in the apartment they used to share, she is overcome with painful memories of their powerful erotic attraction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968272",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For all their flaws — and they have lots of them — the women in these delectable stories are insanely fun to be with because they are so fully imagined and true to the way we live now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Is Why We Can’t Have Nice Things by Naomi Wood is out now, via Phoenix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968657/naomi-wood-short-story-collection-book-review-this-is-why-we-cant-have-nice-things",
"authors": [
"byline_arts_13968657"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_22313"
],
"tags": [
"arts_5221",
"arts_769",
"arts_22017",
"arts_585"
],
"featImg": "arts_13968659",
"label": "arts_140"
},
"arts_13968610": {
"type": "posts",
"id": "arts_13968610",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968610",
"score": null,
"sort": [
1732580837000
]
},
"guestAuthors": [],
"slug": "turkey-serial-killer-slasher-movie-thanksgiving-blood-freak",
"title": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie",
"publishDate": 1732580837,
"format": "aside",
"headTitle": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13968623\" class=\"wp-caption aligncenter\" style=\"max-width: 1309px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968623\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png\" alt=\"A 1970s-era slasher movie poster, featuring a beautiful woman being dragged away by a man-sized turkey.\" width=\"1309\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png 1309w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-800x1222.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1020x1558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-768x1173.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1005x1536.png 1005w\" sizes=\"(max-width: 1309px) 100vw, 1309px\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we all know (and probably try to ignore as much as possible), this is an extremely bad time of year to be a turkey. As such, you might be wondering this \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> how best to distract the very sad herbivores in your life. Fortunately, we have a suggestion! It’s called \u003cem>Blood Freak\u003c/em>: a preposterous (and occasionally gory) slasher flick from 1972. Better yet: the character at the center of the movie has the head of a turkey and a thirst for human blood. (A turkey? Turning the tables on us? Doesn’t that sound like fun? Anyone? No?)\u003c/p>\n\u003cp>I’m getting ahead of myself.\u003c/p>\n\u003cp>Our story begins with our leading man/future turkey (his name is Herschell) riding his motorcycle on a freeway. He pulls over to help a beautiful young woman named Angel who has a flat tire, and the two hit it off. Herschell has recently returned from Vietnam and is trying his darnedest to look like Vegas-era Elvis, which I genuinely didn’t know was a thing that anyone did unless they were kind of joking.\u003c/p>\n\u003cfigure id=\"attachment_13968622\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png\" alt=\"A brooding man wearing a black shirt stands, black hair blowing in the breeze.\" width=\"2000\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1020x567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1536x854.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1920x1068.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">See what I mean? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, this being the 1970s, Herschell and Angel immediately go to a drug-fueled party at Angel’s sister Ann’s house. For some reason, hanging out in this den of iniquity is the elderly owner of a turkey farm. (Don’t ask questions!) And for some reason, he immediately offers Herschell a job. (Seems totally fine!)\u003c/p>\n\u003cp>Angel won’t stop talking about the Bible and is less fun than she looks, so Herschell does sex with Ann instead and smokes mysterious drugs that Ann provides. Hours later, Herschell finds himself sweating and writhing around in pain on Ann’s leopard-print waterbed. (You heard me…) Ann gives him more unspecified drugs to smoke, which immediately makes him feel better. Herschell then angrily declares that he is “hooked,” which is kind of amazing if you know anything at all about how drugs work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the morning, Herschell heads to the poultry farm, where his job involves eating turkey that has been chemically altered for government-related testing reasons. A variety of men wearing white lab coats are as vague as possible about the reasons for this, lest this movie make any salient points about anything whatsoever.\u003c/p>\n\u003cp>[aside postid='arts_13879754']After Herschell eats the chemically enhanced turkey, he immediately passes out in the grass and starts having seizures. When Herschell wakes up hours later, he has turned into a turkey himself — but only from the neck up because special effects are expensive. (See also: \u003ca href=\"https://kalamazoomuseum.org/full-calendar/the-fly-1958\">the grand finale of 1958’s \u003cem>The Fly\u003c/em>\u003c/a>.) Herschell stumbles back to Ann’s (on foot, which kind of sucks because I really wanted to see a turkey riding a motorcycle today).\u003c/p>\n\u003cp>Because his mouth only makes “gobble-gobble” noises now, Herschell passes Ann handwritten notes explaining that he’s turned into a turkey mutant. Which is fairly obvious because he looks like this now:\u003c/p>\n\u003cfigure id=\"attachment_13968625\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png\" alt=\"A man's body with the head of an evil-looking turkey.\" width=\"1470\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-800x1088.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1020x1388.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-768x1045.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1129x1536.png 1129w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">It’s a man-turkey. And he wants to drink your blood. But only if you do drugs. It’s complicated, okay? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ann takes all of this pretty well and calmly makes a (frankly brilliant) speech about whether or not their kids are going to look like turkeys now. (Aside from another scene in which an attempted rapist has his leg sawn off, this is my favorite moment in the entire movie. Turkey-headed children, for the win!)\u003c/p>\n\u003cp>[aside postid='arts_13939927']Off the cuff entirely, Herschell decides to go on a killing spree, specifically targeting drug users and then drinking their blood. (One of them is a lady he called “a tramp” at the drug party, so she obviously deserves this.) When Herschell murders ladies, the same (short) scream track plays on a loop over and over again in the background and we’re not supposed to notice. Which is actually a lot more fun than it sounds.\u003c/p>\n\u003cp>Herschell does not have an efficient system for gathering and drinking his victims’ blood, so just cups his hands into the stream and does a slurping thing with his giant beak. GET YOURSELF A BUCKET, TURKEY-HERSCHELL. YOU’RE WASTING SO MUCH DRUG-BLOOD.\u003c/p>\n\u003cfigure id=\"attachment_13968628\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png\" alt=\"A man in a white t-shirt and jeans stands stunned while a man with a turkey head grips him by the neck.\" width=\"900\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-768x541.png 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Herschell the turkey-man, doing an attack. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to spoil the ending, but it involves finding sobriety, God and a nice pier to stand on. Also, I would be remiss if I didn’t mention the fact that this entire movie is sporadically interrupted by a guy in a shiny shirt, smoking a cigarette from behind a desk and trying desperately to provide sensible, \u003cem>Twilight Zone\u003c/em>-esque commentary. (This is not very successful. In part because this gentleman is reading his lines off a piece of paper. Also in part because he resembles what would happen if Christopher Lee and Ron Jeremy combined forces to become one human.)\u003c/p>\n\u003cp>Shiny shirt guy’s real name is Brad F. Grinter and he co-wrote and co-directed \u003cem>Blood Freak\u003c/em> with Steve Hawkes. And guess who played Herschell? Steve Hawkes, that’s who! Which means Hawkes and Grinter actually did all of this to themselves, on purpose, entirely willingly. And for that? We should all be grateful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Freak’ is streaming for free on \u003ca href=\"https://watch.plex.tv/watch/movie/blood-freak\">Plex\u003c/a> right now.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The 1972 slasher flick revolves around a biker who turns into a turkey and goes on a killing spree. Happy holidays!",
"status": "publish",
"parent": 0,
"modified": 1732582017,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 931
},
"headData": {
"title": "A Turkey Goes on a Killing Spree in 1972’s ‘Blood Freak’ | KQED",
"description": "The 1972 slasher flick revolves around a biker who turns into a turkey and goes on a killing spree. Happy holidays!",
"ogTitle": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie",
"twDescription": "",
"twImgId": "",
"socialTitle": "A Turkey Goes on a Killing Spree in 1972’s ‘Blood Freak’%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie",
"datePublished": "2024-11-25T16:27:17-08:00",
"dateModified": "2024-11-25T16:46:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13968610",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13968610/turkey-serial-killer-slasher-movie-thanksgiving-blood-freak",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968623\" class=\"wp-caption aligncenter\" style=\"max-width: 1309px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968623\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png\" alt=\"A 1970s-era slasher movie poster, featuring a beautiful woman being dragged away by a man-sized turkey.\" width=\"1309\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png 1309w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-800x1222.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1020x1558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-768x1173.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1005x1536.png 1005w\" sizes=\"(max-width: 1309px) 100vw, 1309px\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we all know (and probably try to ignore as much as possible), this is an extremely bad time of year to be a turkey. As such, you might be wondering this \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> how best to distract the very sad herbivores in your life. Fortunately, we have a suggestion! It’s called \u003cem>Blood Freak\u003c/em>: a preposterous (and occasionally gory) slasher flick from 1972. Better yet: the character at the center of the movie has the head of a turkey and a thirst for human blood. (A turkey? Turning the tables on us? Doesn’t that sound like fun? Anyone? No?)\u003c/p>\n\u003cp>I’m getting ahead of myself.\u003c/p>\n\u003cp>Our story begins with our leading man/future turkey (his name is Herschell) riding his motorcycle on a freeway. He pulls over to help a beautiful young woman named Angel who has a flat tire, and the two hit it off. Herschell has recently returned from Vietnam and is trying his darnedest to look like Vegas-era Elvis, which I genuinely didn’t know was a thing that anyone did unless they were kind of joking.\u003c/p>\n\u003cfigure id=\"attachment_13968622\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png\" alt=\"A brooding man wearing a black shirt stands, black hair blowing in the breeze.\" width=\"2000\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1020x567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1536x854.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1920x1068.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">See what I mean? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, this being the 1970s, Herschell and Angel immediately go to a drug-fueled party at Angel’s sister Ann’s house. For some reason, hanging out in this den of iniquity is the elderly owner of a turkey farm. (Don’t ask questions!) And for some reason, he immediately offers Herschell a job. (Seems totally fine!)\u003c/p>\n\u003cp>Angel won’t stop talking about the Bible and is less fun than she looks, so Herschell does sex with Ann instead and smokes mysterious drugs that Ann provides. Hours later, Herschell finds himself sweating and writhing around in pain on Ann’s leopard-print waterbed. (You heard me…) Ann gives him more unspecified drugs to smoke, which immediately makes him feel better. Herschell then angrily declares that he is “hooked,” which is kind of amazing if you know anything at all about how drugs work.\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>In the morning, Herschell heads to the poultry farm, where his job involves eating turkey that has been chemically altered for government-related testing reasons. A variety of men wearing white lab coats are as vague as possible about the reasons for this, lest this movie make any salient points about anything whatsoever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13879754",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>After Herschell eats the chemically enhanced turkey, he immediately passes out in the grass and starts having seizures. When Herschell wakes up hours later, he has turned into a turkey himself — but only from the neck up because special effects are expensive. (See also: \u003ca href=\"https://kalamazoomuseum.org/full-calendar/the-fly-1958\">the grand finale of 1958’s \u003cem>The Fly\u003c/em>\u003c/a>.) Herschell stumbles back to Ann’s (on foot, which kind of sucks because I really wanted to see a turkey riding a motorcycle today).\u003c/p>\n\u003cp>Because his mouth only makes “gobble-gobble” noises now, Herschell passes Ann handwritten notes explaining that he’s turned into a turkey mutant. Which is fairly obvious because he looks like this now:\u003c/p>\n\u003cfigure id=\"attachment_13968625\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png\" alt=\"A man's body with the head of an evil-looking turkey.\" width=\"1470\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-800x1088.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1020x1388.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-768x1045.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1129x1536.png 1129w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">It’s a man-turkey. And he wants to drink your blood. But only if you do drugs. It’s complicated, okay? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ann takes all of this pretty well and calmly makes a (frankly brilliant) speech about whether or not their kids are going to look like turkeys now. (Aside from another scene in which an attempted rapist has his leg sawn off, this is my favorite moment in the entire movie. Turkey-headed children, for the win!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13939927",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Off the cuff entirely, Herschell decides to go on a killing spree, specifically targeting drug users and then drinking their blood. (One of them is a lady he called “a tramp” at the drug party, so she obviously deserves this.) When Herschell murders ladies, the same (short) scream track plays on a loop over and over again in the background and we’re not supposed to notice. Which is actually a lot more fun than it sounds.\u003c/p>\n\u003cp>Herschell does not have an efficient system for gathering and drinking his victims’ blood, so just cups his hands into the stream and does a slurping thing with his giant beak. GET YOURSELF A BUCKET, TURKEY-HERSCHELL. YOU’RE WASTING SO MUCH DRUG-BLOOD.\u003c/p>\n\u003cfigure id=\"attachment_13968628\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png\" alt=\"A man in a white t-shirt and jeans stands stunned while a man with a turkey head grips him by the neck.\" width=\"900\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-768x541.png 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Herschell the turkey-man, doing an attack. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to spoil the ending, but it involves finding sobriety, God and a nice pier to stand on. Also, I would be remiss if I didn’t mention the fact that this entire movie is sporadically interrupted by a guy in a shiny shirt, smoking a cigarette from behind a desk and trying desperately to provide sensible, \u003cem>Twilight Zone\u003c/em>-esque commentary. (This is not very successful. In part because this gentleman is reading his lines off a piece of paper. Also in part because he resembles what would happen if Christopher Lee and Ron Jeremy combined forces to become one human.)\u003c/p>\n\u003cp>Shiny shirt guy’s real name is Brad F. Grinter and he co-wrote and co-directed \u003cem>Blood Freak\u003c/em> with Steve Hawkes. And guess who played Herschell? Steve Hawkes, that’s who! Which means Hawkes and Grinter actually did all of this to themselves, on purpose, entirely willingly. And for that? We should all be grateful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Freak’ is streaming for free on \u003ca href=\"https://watch.plex.tv/watch/movie/blood-freak\">Plex\u003c/a> right now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968610/turkey-serial-killer-slasher-movie-thanksgiving-blood-freak",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_8530",
"arts_3247",
"arts_5087",
"arts_6062",
"arts_585"
],
"featImg": "arts_13968626",
"label": "arts_140"
},
"arts_13968593": {
"type": "posts",
"id": "arts_13968593",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968593",
"score": null,
"sort": [
1732558320000
]
},
"guestAuthors": [],
"slug": "dead-air-book-review-orson-welles-war-of-the-worlds-radio-panic-hazelgrove",
"title": "‘Dead Air’ Tells History of Night Orson Welles Unleashed a Martian Invasion",
"publishDate": 1732558320,
"format": "aside",
"headTitle": "‘Dead Air’ Tells History of Night Orson Welles Unleashed a Martian Invasion | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13968595\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png\" alt=\"A book cover featuring a black and white image of a radio performer gesturing dramatically while speaking into a microphone.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove. \u003ccite>(Rowman & Littlefield Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long before Donald Trump used the term “fake news” to complain about coverage he didn’t like, Orson Welles mastered the art of actual fake news.\u003c/p>\n\u003cp>Welles’ 1938 radio adaptation of H.G. Wells’ \u003cem>The War of the Worlds\u003c/em> is the focus of William Elliott Hazelgrove’s \u003cem>Dead Air: The Night That Orson Welles Terrified America.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13968272']The book serves as an enjoyable history of the radio drama, with a fair share of fascinating details about its production and historical context. But it falls short on exploring the legendary reports of mass hysteria among listeners who believed they were hearing an actual Martian invasion unfold.\u003c/p>\n\u003cp>In appropriately cinematic detail, Hazelgrove chronicles Welles’ rise and manic working style — even including a hilarious account of a scuffle that broke out between Welles and Ernest Hemingway and ended with the pair toasting each other over whiskey.\u003c/p>\n\u003cp>The book highlights what made Welles’ production particularly powerful, airing at a time when millions remained unemployed from the Great Depression and the nation was on edge about the threat of Nazi Germany. He details how Welles took advantage of those fears, including using an actor who sounded like Franklin D. Roosevelt for a part in his broadcast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A bottled-up sense of panic was in the air and people could almost smell the fear,” he writes. “Orson Welles would open that bottle and let the fear run wild.”\u003c/p>\n\u003cp>The book’s biggest flaw is Hazelgrove’s exploration of just how wild that fear ran. Hazelgrove too easily dismisses the modern reappraisal that reports of a widespread panic were exaggerated, and shows little skepticism about news accounts from then that were largely based on anecdotal reports.\u003c/p>\n\u003cp>[aside postid='arts_13968478']Hazelgrove also makes an unconvincing argument that there were deaths that can be attributed to the panic over the broadcast. He even stretches to speculate that a car accident reported on the night of the broadcast could have been related without any evidence to back that up.\u003c/p>\n\u003cp>There’ no doubt that Welles’ drama had a major impact on pop culture, and \u003cem>War of the Worlds\u003c/em> will have an enduring legacy. Hazelgrove’s book misses an opportunity to fully revisit the reports of the panic it caused.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove is out now, via Rowman & Littlefield Publishers.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new book takes us behind the scenes of Welles’ 1938 radio adaptation of H.G. Wells’ ‘The War of the Worlds.’",
"status": "publish",
"parent": 0,
"modified": 1741715455,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 432
},
"headData": {
"title": "Book Review: ‘Dead Air’ by William Elliott Hazelgrove | KQED",
"description": "A new book takes us behind the scenes of Welles’ 1938 radio adaptation of H.G. Wells’ ‘The War of the Worlds.’",
"ogTitle": "‘Dead Air’ Tells History of Night Orson Welles Unleashed a Martian Invasion",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Dead Air’ Tells History of Night Orson Welles Unleashed a Martian Invasion",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Dead Air’ by William Elliott Hazelgrove%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dead Air’ Tells History of Night Orson Welles Unleashed a Martian Invasion",
"datePublished": "2024-11-25T10:12:00-08:00",
"dateModified": "2025-03-11T10:50:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew DeMillo, Associated Press",
"nprStoryId": "kqed-13968593",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968593/dead-air-book-review-orson-welles-war-of-the-worlds-radio-panic-hazelgrove",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968595\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png\" alt=\"A book cover featuring a black and white image of a radio performer gesturing dramatically while speaking into a microphone.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove. \u003ccite>(Rowman & Littlefield Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long before Donald Trump used the term “fake news” to complain about coverage he didn’t like, Orson Welles mastered the art of actual fake news.\u003c/p>\n\u003cp>Welles’ 1938 radio adaptation of H.G. Wells’ \u003cem>The War of the Worlds\u003c/em> is the focus of William Elliott Hazelgrove’s \u003cem>Dead Air: The Night That Orson Welles Terrified America.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968272",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The book serves as an enjoyable history of the radio drama, with a fair share of fascinating details about its production and historical context. But it falls short on exploring the legendary reports of mass hysteria among listeners who believed they were hearing an actual Martian invasion unfold.\u003c/p>\n\u003cp>In appropriately cinematic detail, Hazelgrove chronicles Welles’ rise and manic working style — even including a hilarious account of a scuffle that broke out between Welles and Ernest Hemingway and ended with the pair toasting each other over whiskey.\u003c/p>\n\u003cp>The book highlights what made Welles’ production particularly powerful, airing at a time when millions remained unemployed from the Great Depression and the nation was on edge about the threat of Nazi Germany. He details how Welles took advantage of those fears, including using an actor who sounded like Franklin D. Roosevelt for a part in his broadcast.\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>“A bottled-up sense of panic was in the air and people could almost smell the fear,” he writes. “Orson Welles would open that bottle and let the fear run wild.”\u003c/p>\n\u003cp>The book’s biggest flaw is Hazelgrove’s exploration of just how wild that fear ran. Hazelgrove too easily dismisses the modern reappraisal that reports of a widespread panic were exaggerated, and shows little skepticism about news accounts from then that were largely based on anecdotal reports.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968478",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hazelgrove also makes an unconvincing argument that there were deaths that can be attributed to the panic over the broadcast. He even stretches to speculate that a car accident reported on the night of the broadcast could have been related without any evidence to back that up.\u003c/p>\n\u003cp>There’ no doubt that Welles’ drama had a major impact on pop culture, and \u003cem>War of the Worlds\u003c/em> will have an enduring legacy. Hazelgrove’s book misses an opportunity to fully revisit the reports of the panic it caused.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove is out now, via Rowman & Littlefield Publishers.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968593/dead-air-book-review-orson-welles-war-of-the-worlds-radio-panic-hazelgrove",
"authors": [
"byline_arts_13968593"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_22313"
],
"tags": [
"arts_22296",
"arts_12927",
"arts_12987",
"arts_769",
"arts_3797",
"arts_585"
],
"featImg": "arts_13968596",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=the-do-list": {
"isFetching": false,
"latestQuery": {
"from": 588,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 689,
"relation": "eq"
},
"items": [
"arts_13969055",
"arts_13969027",
"arts_13968980",
"arts_13968936",
"arts_13968922",
"arts_13968804",
"arts_13968735",
"arts_13968744",
"arts_13968681",
"arts_13968657",
"arts_13968610",
"arts_13968593"
],
"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_the-do-list": {
"isLoading": true
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"source_arts_13968980": {
"type": "terms",
"id": "source_arts_13968980",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_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_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"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_21748": {
"type": "terms",
"id": "arts_21748",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21748",
"found": true
},
"relationships": {},
"featImg": null,
"name": "biopic",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "biopic Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21760,
"slug": "biopic",
"isLoading": false,
"link": "/arts/tag/biopic"
},
"arts_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"arts_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"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_5221": {
"type": "terms",
"id": "arts_5221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fiction",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fiction Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5233,
"slug": "fiction",
"isLoading": false,
"link": "/arts/tag/fiction"
},
"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_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_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_22296": {
"type": "terms",
"id": "arts_22296",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22296",
"found": true
},
"relationships": {},
"name": "nonfiction",
"slug": "nonfiction",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "nonfiction | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22308,
"isLoading": false,
"link": "/arts/tag/nonfiction"
},
"arts_1774": {
"type": "terms",
"id": "arts_1774",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1774",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kendrick lamar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kendrick lamar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1786,
"slug": "kendrick-lamar",
"isLoading": false,
"link": "/arts/tag/kendrick-lamar"
},
"arts_11466": {
"type": "terms",
"id": "arts_11466",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11466",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oracle Park",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oracle Park Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11478,
"slug": "oracle-park",
"isLoading": false,
"link": "/arts/tag/oracle-park"
},
"arts_700": {
"type": "terms",
"id": "arts_700",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticket alert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticket alert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 711,
"slug": "ticket-alert",
"isLoading": false,
"link": "/arts/tag/ticket-alert"
},
"arts_4802": {
"type": "terms",
"id": "arts_4802",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4802",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticketmaster",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticketmaster Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4814,
"slug": "ticketmaster",
"isLoading": false,
"link": "/arts/tag/ticketmaster"
},
"arts_4798": {
"type": "terms",
"id": "arts_4798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4798",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tickets",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tickets Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4810,
"slug": "tickets",
"isLoading": false,
"link": "/arts/tag/tickets"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_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_1321": {
"type": "terms",
"id": "arts_1321",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1321",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Playhouse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Playhouse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1333,
"slug": "san-francisco-playhouse",
"isLoading": false,
"link": "/arts/tag/san-francisco-playhouse"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"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_9124": {
"type": "terms",
"id": "arts_9124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9124",
"found": true
},
"relationships": {},
"name": "Animals",
"slug": "animals",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Animals | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 9136,
"isLoading": false,
"link": "/arts/tag/animals"
},
"arts_21868": {
"type": "terms",
"id": "arts_21868",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21868",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21880,
"slug": "california",
"isLoading": false,
"link": "/arts/interest/california"
},
"arts_21880": {
"type": "terms",
"id": "arts_21880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Climate",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Climate Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21892,
"slug": "climate",
"isLoading": false,
"link": "/arts/interest/climate"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_10772": {
"type": "terms",
"id": "arts_10772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10772",
"found": true
},
"relationships": {},
"name": "1950s",
"slug": "1950s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1950s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 10784,
"isLoading": false,
"link": "/arts/tag/1950s"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_2227": {
"type": "terms",
"id": "arts_2227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2227",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BAMPFA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BAMPFA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2239,
"slug": "bampfa",
"isLoading": false,
"link": "/arts/tag/bampfa"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_22017": {
"type": "terms",
"id": "arts_22017",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22017",
"found": true
},
"relationships": {},
"featImg": null,
"name": "short stories",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "short stories Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22029,
"slug": "short-stories",
"isLoading": false,
"link": "/arts/tag/short-stories"
},
"arts_8530": {
"type": "terms",
"id": "arts_8530",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8530",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1970s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1970s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8542,
"slug": "1970s",
"isLoading": false,
"link": "/arts/tag/1970s"
},
"arts_3247": {
"type": "terms",
"id": "arts_3247",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3247",
"found": true
},
"relationships": {},
"featImg": null,
"name": "holidays",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "holidays Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3259,
"slug": "holidays",
"isLoading": false,
"link": "/arts/tag/holidays"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"arts_6062": {
"type": "terms",
"id": "arts_6062",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6062",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thanksgiving",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thanksgiving Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6074,
"slug": "thanksgiving",
"isLoading": false,
"link": "/arts/tag/thanksgiving"
},
"arts_12927": {
"type": "terms",
"id": "arts_12927",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12927",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Orson Welles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Orson Welles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12939,
"slug": "orson-welles",
"isLoading": false,
"link": "/arts/tag/orson-welles"
},
"arts_12987": {
"type": "terms",
"id": "arts_12987",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12987",
"found": true
},
"relationships": {},
"featImg": null,
"name": "radio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "radio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12999,
"slug": "radio",
"isLoading": false,
"link": "/arts/tag/radio"
},
"arts_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
}
},
"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
}
}
