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_13866513": {
"type": "attachments",
"id": "arts_13866513",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866513",
"found": true
},
"parent": 13866506,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768.jpg",
"width": 1536,
"height": 768
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/56fae37852bcd028008b9711-1536-768-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1568671092,
"modified": 1568706621,
"caption": "Dustin Hoffman and Meryl Streep in 'Kramer vs. Kramer.'",
"description": "Dustin Hoffman and Meryl Streep in 'Kramer vs. Kramer.'",
"title": "Dustin Hoffman and Meryl Streep in 'Kramer vs. Kramer.'",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866686": {
"type": "attachments",
"id": "arts_13866686",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866686",
"found": true
},
"parent": 13866684,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b.jpg",
"width": 2048,
"height": 1024
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/ralph-lauren-friends-today-main-190918_2946cb40cab4a4471b2c7dd08a3bc67b-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1568861462,
"modified": 1568861527,
"caption": "Ralph Lauren has launched a collection in honor of the 25th Anniversary of 'Friends.'",
"description": "Ralph Lauren has launched a collection in honor of the 25th Anniversary of 'Friends.'",
"title": "Ralph Lauren has launched a collection in honor of the 25th Anniversary of 'Friends.'",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866655": {
"type": "attachments",
"id": "arts_13866655",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866655",
"found": true
},
"parent": 13866589,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/golden-girls-group-h-getty-gty-jc-180726_hpMain_16x9_1600-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568842128,
"modified": 1568842225,
"caption": "'The Golden Girls' (L-R): Estelle Getty as Sophia, Bea Arthur as Dorothy, Rue McClanahan as Blanche, Betty White as Rose.",
"description": "'The Golden Girls' (L-R): Estelle Getty as Sophia, Bea Arthur as Dorothy, Rue McClanahan as Blanche, Betty White as Rose.",
"title": "'The Golden Girls' (L-R): Estelle Getty as Sophia, Bea Arthur as Dorothy, Rue McClanahan as Blanche, Betty White as Rose.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866553": {
"type": "attachments",
"id": "arts_13866553",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866553",
"found": true
},
"parent": 13866256,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/aerosmith-run-dmc-rico-nasty-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568749579,
"modified": 1568749913,
"caption": "Left: A still from Aerosmith and Run-D.M.C.'s \"Walk This Way\" music video. Right: Rico Nasty performs at Coachella 2019.",
"description": "Left: A still from Aerosmith and Run-D.M.C.'s \"Walk This Way\" music video. Right: Rico Nasty performs at Coachella 2019.",
"title": "aerosmith-run-dmc-rico-nasty",
"credit": "Def Jam via YouTube/Right: Rich Fury/Getty Images for Coachella",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866519": {
"type": "attachments",
"id": "arts_13866519",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866519",
"found": true
},
"parent": 13866441,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2.jpg",
"width": 1020,
"height": 574
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568694612,
"modified": 1568694627,
"caption": "Hank Williams, Jr. and Charley Pride (L–R) both appear in Ken Burns' new documentary, 'Country Music.' Like many country stars, Williams' famous father learned from black musicians; Pride, however, remains one of the very few black stars in the music's history. ",
"description": "Hank Williams, Jr. and Charley Pride (L–R) both appear in Ken Burns' new documentary, 'Country Music.' Like many country stars, Williams' famous father learned from black musicians; Pride, however, remains one of the very few black stars in the music's history. ",
"title": "CountryMusic.Charley.Hank_2",
"credit": "Chip Somodevilla / Erika Goldring / Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13866096": {
"type": "attachments",
"id": "arts_13866096",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866096",
"found": true
},
"parent": 13866072,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-160x115.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 115
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202.jpg",
"width": 2048,
"height": 1476
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-1020x735.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 735
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-1200x865.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 865
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-1920x1384.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1384
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-800x577.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 577
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-998533202-768x554.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 554
}
},
"publishDate": 1568064567,
"modified": 1568064723,
"caption": "Kate, the Duchess of Cambridge, and Meghan Markle, Duchess of Sussex, take their seats in the Royal box on Centre Court at the 2018 Wimbledon tennis championships, England. ",
"description": "Kate, the Duchess of Cambridge, and Meghan Markle, Duchess of Sussex, take their seats in the Royal box on Centre Court at the 2018 Wimbledon tennis championships, England. ",
"title": "Kate, the Duchess of Cambridge, and Meghan Markle, Duchess of Sussex, take their seats in the Royal box on Centre Court at the 2018 Wimbledon tennis championships, England.",
"credit": "OLI SCARFF/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865689": {
"type": "attachments",
"id": "arts_13865689",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865689",
"found": true
},
"parent": 13865685,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868.jpg",
"width": 1024,
"height": 683
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1065989868-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1567632153,
"modified": 1567632208,
"caption": "Activists at the 2018 #MeToo March on November 10, 2018, Hollywood, California. ",
"description": "Activists at the 2018 #MeToo March on November 10, 2018, Hollywood, California. ",
"title": "Activists at the 2018 #MeToo March on November 10, 2018, Hollywood, California.",
"credit": "Sarah Morris/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865595": {
"type": "attachments",
"id": "arts_13865595",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865595",
"found": true
},
"parent": 13865555,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-160x113.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 113
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424.jpg",
"width": 1024,
"height": 725
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-1020x722.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 722
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-800x566.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 566
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-768x544.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 544
}
},
"publishDate": 1567549197,
"modified": 1567549316,
"caption": "Jared Leto performs with Thirty Seconds to Mars at the LA Forum, December 2018. ",
"description": "Jared Leto performs with Thirty Seconds to Mars at the LA Forum, December 2018. ",
"title": "Jared Leto performs with Thirty Seconds to Mars at the LA Forum, December 2018.",
"credit": "Kevin Winter/Getty Images for KROQ/Entercom",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865599": {
"type": "attachments",
"id": "arts_13865599",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865599",
"found": true
},
"parent": 13865533,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2.jpg",
"width": 1081,
"height": 723
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2-1020x682.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 682
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/EF070F66-BCF7-41C7-B941-D5CDFCD8D0EC-2-768x514.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 514
}
},
"publishDate": 1567550538,
"modified": 1567550571,
"caption": "East Bay Dragons' 60th anniversary event",
"description": "East Bay Dragons' 60th anniversary event",
"title": "East Bay Dragons' 60th anniversary event",
"credit": "Pendarvis Harshaw",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865044": {
"type": "attachments",
"id": "arts_13865044",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865044",
"found": true
},
"parent": 13865042,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9.jpg",
"width": 1080,
"height": 718
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/033E79DE-6DB0-405E-953D-0933EC7F1BD9-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1566940751,
"modified": 1567117729,
"caption": "Tone Oliver performing on a BART train.",
"description": "Tone Oliver performing on a BART train.",
"title": "Tone Oliver performing on a BART train",
"credit": "Rashaan Carr",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865187": {
"type": "attachments",
"id": "arts_13865187",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865187",
"found": true
},
"parent": 13865075,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Vida_Kuang_Public_Charge_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1567019046,
"modified": 1567019168,
"caption": "Cartoonists and illustrators captured the Public Charge protests on Tuesday, Aug. 27.",
"description": "Cartoonists and illustrators captured the Public Charge protests on Tuesday, Aug. 27.",
"title": "Vida_Kuang_Public_Charge_COVER",
"credit": "Vida Kuang",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865027": {
"type": "attachments",
"id": "arts_13865027",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865027",
"found": true
},
"parent": 13865026,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e.jpg",
"width": 2048,
"height": 1392
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1020x693.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 693
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1200x816.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 816
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-1920x1305.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1305
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-800x544.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 544
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-478920136_custom-246236ac58056dd18e0ae106f108c5c71c44101e-768x522.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 522
}
},
"publishDate": 1566932363,
"modified": 1566933248,
"caption": "Kendrick Lamar performs at the 2015 BET Awards in Los Angeles.\n",
"description": "Kendrick Lamar performs at the 2015 BET Awards in Los Angeles.",
"title": "Kendrick Lamar performs at the 2015 BET Awards in Los Angeles.",
"credit": "Christopher Polk/Getty Images for BET",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13866256": {
"type": "authors",
"id": "byline_arts_13866256",
"meta": {
"override": true
},
"slug": "byline_arts_13866256",
"name": "Brooklyn White",
"isLoading": false
},
"byline_arts_13865026": {
"type": "authors",
"id": "byline_arts_13865026",
"meta": {
"override": true
},
"slug": "byline_arts_13865026",
"name": "Andrew Limbong",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"pagesReducer": {
"arts_tag_commentary": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"score": 8.790994
},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"title": "commentary",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 21
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=commentary",
"seeMore": false,
"paginated": true,
"page": 21
}
},
{
"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_13866506": {
"type": "posts",
"id": "arts_13866506",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866506",
"score": null,
"sort": [
1569000617000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1569000617,
"format": "standard",
"title": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman",
"headTitle": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman | KQED",
"content": "\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84DpXtxtyNg\u003c/p>\n\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-vuyZrZxn9Y\u003c/p>\n\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1100,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705022113,
"excerpt": "'Queen Meryl,' in part, details Hoffman's abhorrent behavior before and during the filming of 'Kramer vs. Kramer.' ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Queen Meryl,' in part, details Hoffman's abhorrent behavior before and during the filming of 'Kramer vs. Kramer.' ",
"title": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman",
"datePublished": "2019-09-20T10:30:17-07:00",
"dateModified": "2024-01-11T17:15:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-new-book-about-meryl-streep-will-remind-you-to-despise-dustin-hoffman",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"articleAge": "0",
"path": "/arts/13866506/a-new-book-about-meryl-streep-will-remind-you-to-despise-dustin-hoffman",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/84DpXtxtyNg'\n title='//www.youtube.com/embed/84DpXtxtyNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-vuyZrZxn9Y'\n title='//www.youtube.com/embed/-vuyZrZxn9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866506/a-new-book-about-meryl-streep-will-remind-you-to-despise-dustin-hoffman",
"authors": [
"11242"
],
"categories": [
"arts_73",
"arts_2303",
"arts_74",
"arts_75"
],
"tags": [
"arts_2798",
"arts_2767",
"arts_1118",
"arts_977",
"arts_4959",
"arts_4778"
],
"featImg": "arts_13866513",
"label": "source_arts_13866506"
},
"arts_13866684": {
"type": "posts",
"id": "arts_13866684",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866684",
"score": null,
"sort": [
1568934170000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568934170,
"format": "standard",
"title": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends'",
"headTitle": "Ralph Lauren’s ‘Friends’ Collection Looks Like Nothing Anyone Wore on ‘Friends’ | KQED",
"content": "\u003cp>You might recall that Ralph Lauren product placement went into total overdrive in the fifth season of \u003cem>Friends\u003c/em>, after Rachel Green started working for the fashion house. There was even an episode where Phoebe got duped into making out with “Kenny, the copy guy” because she thought he was Ralph Lauren. (Lauren himself made \u003ca href=\"https://www.youtube.com/watch?v=j6pOe8B5LJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a cameo\u003c/a>.)\u003c/p>\n\u003cp>The designer label, very shrewdly, is now looking to capitalize on this history, by launching \u003ca href=\"https://www.ralphlauren.com/friends-cg?sz=30&start=0\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> said to be inspired by \u003cem>Friends\u003c/em>‘ 25th anniversary. There’s only one problem: with the exception of a handful of items, none of these clothes look like anything someone in \u003cem>Friends\u003c/em> might have actually worn.\u003c/p>\n\u003cp>Sure, these pleated skirts have definite Rachel vibes:\u003c/p>\n\u003cfigure id=\"attachment_13866748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a token sweater vest for Chandler:\u003c/p>\n\u003cfigure id=\"attachment_13866719\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And \u003ca href=\"https://www.youtube.com/watch?v=WmwAjt-dz1g\" target=\"_blank\" rel=\"noopener noreferrer\">Ross’ leather pants\u003c/a> (which appeared in exactly one episode) have clearly served as a major inspiration:\u003c/p>\n\u003cfigure id=\"attachment_13866747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>But most of the other items in this collection are genuinely baffling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who, for example, ever, in ten years of \u003cem>Friends\u003c/em> wore anything approximating a pussy-bow blouse? No one! But, sure, go ahead, Ralph Lauren. Give us three:\u003c/p>\n\u003cfigure id=\"attachment_13866727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel did have her fair share of blazers, but red and purple? Not even Gunther pulled this nonsense:\u003c/p>\n\u003cfigure id=\"attachment_13866754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And who are these frumpy dresses for? Because it’s not Monica, Rachel, Phoebe \u003cem>or\u003c/em> Janice:\u003c/p>\n\u003cfigure id=\"attachment_13866729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Just when you think it can’t get any worse, we reach menswear, which, if it’s possible, makes even less sense.\u003c/p>\n\u003cp>I don’t recall anyone in \u003cem>Friends\u003c/em> working on Wall Street, or going to a young Republicans convention, but still this somehow made it to the collection:\u003c/p>\n\u003cfigure id=\"attachment_13866741\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>As did these, which might have been inspired by the stuffy old professors Ross worked with, but still seem like an odd choice:\u003c/p>\n\u003cfigure id=\"attachment_13866763\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>The less said about this weird teddy bear sweater, the better:\u003c/p>\n\u003cfigure id=\"attachment_13866730\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, and worst of all: WHO THE HELL IS THE INSPIRATION FOR THESE HIDEOUS MOUNTAIN CLIMBER PANTS?!\u003c/p>\n\u003cfigure id=\"attachment_13866732\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>I am aware that the Ralph Lauren \u003cem>Friends\u003c/em> collection is a very silly thing to be annoyed about right now, but it is particularly frustrating to me, since last year I wrote an article titled “\u003ca href=\"https://www.kqed.org/pop/105499/all-the-friends-outfits-we-should-bring-back\" target=\"_blank\" rel=\"noopener noreferrer\">All the Friends Outfits We Should Bring Back.\u003c/a>” It included Monica and Rachel’s “Girls” shirts, Phoebe’s Santa pants and a variety of other things Ralph Lauren didn’t want to give me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’d have settled for Joey’s man-bag, Ralph. I’d have settled for Joey’s man-bag.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 447,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705022117,
"excerpt": "Ralph Lauren's 'Friends' collection has a handful of items that nod to the show—and a whole bunch of crap that doesn't.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ralph Lauren's 'Friends' collection has a handful of items that nod to the show—and a whole bunch of crap that doesn't.",
"title": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends'",
"datePublished": "2019-09-19T16:02:50-07:00",
"dateModified": "2024-01-11T17:15:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ralph-laurens-friends-collection-looks-like-nothing-anyone-wore-on-friends",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13866684/ralph-laurens-friends-collection-looks-like-nothing-anyone-wore-on-friends",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might recall that Ralph Lauren product placement went into total overdrive in the fifth season of \u003cem>Friends\u003c/em>, after Rachel Green started working for the fashion house. There was even an episode where Phoebe got duped into making out with “Kenny, the copy guy” because she thought he was Ralph Lauren. (Lauren himself made \u003ca href=\"https://www.youtube.com/watch?v=j6pOe8B5LJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a cameo\u003c/a>.)\u003c/p>\n\u003cp>The designer label, very shrewdly, is now looking to capitalize on this history, by launching \u003ca href=\"https://www.ralphlauren.com/friends-cg?sz=30&start=0\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> said to be inspired by \u003cem>Friends\u003c/em>‘ 25th anniversary. There’s only one problem: with the exception of a handful of items, none of these clothes look like anything someone in \u003cem>Friends\u003c/em> might have actually worn.\u003c/p>\n\u003cp>Sure, these pleated skirts have definite Rachel vibes:\u003c/p>\n\u003cfigure id=\"attachment_13866748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a token sweater vest for Chandler:\u003c/p>\n\u003cfigure id=\"attachment_13866719\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And \u003ca href=\"https://www.youtube.com/watch?v=WmwAjt-dz1g\" target=\"_blank\" rel=\"noopener noreferrer\">Ross’ leather pants\u003c/a> (which appeared in exactly one episode) have clearly served as a major inspiration:\u003c/p>\n\u003cfigure id=\"attachment_13866747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>But most of the other items in this collection are genuinely baffling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who, for example, ever, in ten years of \u003cem>Friends\u003c/em> wore anything approximating a pussy-bow blouse? No one! But, sure, go ahead, Ralph Lauren. Give us three:\u003c/p>\n\u003cfigure id=\"attachment_13866727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel did have her fair share of blazers, but red and purple? Not even Gunther pulled this nonsense:\u003c/p>\n\u003cfigure id=\"attachment_13866754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And who are these frumpy dresses for? Because it’s not Monica, Rachel, Phoebe \u003cem>or\u003c/em> Janice:\u003c/p>\n\u003cfigure id=\"attachment_13866729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Just when you think it can’t get any worse, we reach menswear, which, if it’s possible, makes even less sense.\u003c/p>\n\u003cp>I don’t recall anyone in \u003cem>Friends\u003c/em> working on Wall Street, or going to a young Republicans convention, but still this somehow made it to the collection:\u003c/p>\n\u003cfigure id=\"attachment_13866741\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>As did these, which might have been inspired by the stuffy old professors Ross worked with, but still seem like an odd choice:\u003c/p>\n\u003cfigure id=\"attachment_13866763\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>The less said about this weird teddy bear sweater, the better:\u003c/p>\n\u003cfigure id=\"attachment_13866730\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, and worst of all: WHO THE HELL IS THE INSPIRATION FOR THESE HIDEOUS MOUNTAIN CLIMBER PANTS?!\u003c/p>\n\u003cfigure id=\"attachment_13866732\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>I am aware that the Ralph Lauren \u003cem>Friends\u003c/em> collection is a very silly thing to be annoyed about right now, but it is particularly frustrating to me, since last year I wrote an article titled “\u003ca href=\"https://www.kqed.org/pop/105499/all-the-friends-outfits-we-should-bring-back\" target=\"_blank\" rel=\"noopener noreferrer\">All the Friends Outfits We Should Bring Back.\u003c/a>” It included Monica and Rachel’s “Girls” shirts, Phoebe’s Santa pants and a variety of other things Ralph Lauren didn’t want to give me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’d have settled for Joey’s man-bag, Ralph. I’d have settled for Joey’s man-bag.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866684/ralph-laurens-friends-collection-looks-like-nothing-anyone-wore-on-friends",
"authors": [
"11242"
],
"categories": [
"arts_2303",
"arts_76",
"arts_75",
"arts_990"
],
"tags": [
"arts_2767",
"arts_1696",
"arts_5422"
],
"featImg": "arts_13866686",
"label": "arts"
},
"arts_13866589": {
"type": "posts",
"id": "arts_13866589",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866589",
"score": null,
"sort": [
1568912315000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568912315,
"format": "standard",
"title": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot",
"headTitle": "Why We Need Jane Lynch and Cyndi Lauper’s ‘Golden Girls’ Reboot | KQED",
"content": "\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x97DorT1Fcs\u003c/p>\n\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\n\u003cp>https://twitter.com/JeremywithaZ/status/1173947100087930880\u003c/p>\n\u003cp>https://twitter.com/Road2Oscars/status/1173414374247002112\u003c/p>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJS54oxSebs\u003c/p>\n\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\n\u003cp>https://www.instagram.com/p/B2UN1fvA4yV/\u003c/p>\n\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 948,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705022126,
"excerpt": "Jane Lynch and Cyndi Lauper are collaborating on \"kind of a 'Golden Girls' for today\"—and it's long overdue.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Jane Lynch and Cyndi Lauper are collaborating on "kind of a 'Golden Girls' for today"—and it's long overdue.",
"title": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot",
"datePublished": "2019-09-19T09:58:35-07:00",
"dateModified": "2024-01-11T17:15:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13866589/why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x97DorT1Fcs'\n title='//www.youtube.com/embed/x97DorT1Fcs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1173947100087930880"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1173414374247002112"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jJS54oxSebs'\n title='//www.youtube.com/embed/jJS54oxSebs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B2UN1fvA4yV/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866589/why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot",
"authors": [
"11242"
],
"categories": [
"arts_2303",
"arts_75",
"arts_990"
],
"tags": [
"arts_2767",
"arts_8665"
],
"featImg": "arts_13866655",
"label": "arts"
},
"arts_13866256": {
"type": "posts",
"id": "arts_13866256",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866256",
"score": null,
"sort": [
1568757648000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568757648,
"format": "standard",
"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music",
"headTitle": "From ‘Walk This Way’ to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/4B_UYYPb-Gk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. [aside postid='arts_13866441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/kdQN-B8aodw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/yNPECkESPbU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. [aside postid='arts_13854359']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/91QQqfr1qzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1232,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022134,
"excerpt": "Rappers once leaned on rock stars to reach the mainstream. Now that rap is America's biggest-selling genre, the tables have turned. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Rappers once leaned on rock stars to reach the mainstream. Now that rap is America's biggest-selling genre, the tables have turned. ",
"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music",
"datePublished": "2019-09-17T15:00:48-07:00",
"dateModified": "2024-01-11T17:15:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "from-walk-this-way-to-rico-nasty-rap-rock-collaborations-reveal-power-shifts-in-music",
"status": "publish",
"templateType": "standard",
"nprByline": "Brooklyn White",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13866256/from-walk-this-way-to-rico-nasty-rap-rock-collaborations-reveal-power-shifts-in-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4B_UYYPb-Gk'\n title='//www.youtube.com/embed/4B_UYYPb-Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866441",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kdQN-B8aodw'\n title='//www.youtube.com/embed/kdQN-B8aodw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yNPECkESPbU'\n title='//www.youtube.com/embed/yNPECkESPbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854359",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91QQqfr1qzE'\n title='//www.youtube.com/embed/91QQqfr1qzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866256/from-walk-this-way-to-rico-nasty-rap-rock-collaborations-reveal-power-shifts-in-music",
"authors": [
"byline_arts_13866256"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_5665",
"arts_2767",
"arts_1118",
"arts_831",
"arts_974"
],
"featImg": "arts_13866553",
"label": "arts"
},
"arts_13866441": {
"type": "posts",
"id": "arts_13866441",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866441",
"score": null,
"sort": [
1568672398000
]
},
"guestAuthors": [],
"slug": "in-ken-burns-country-music-an-optimistic-handling-of-race",
"title": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest",
"publishDate": 1568672398,
"format": "standard",
"headTitle": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "The new PBS documentary offers a too-charitable reading of power and privilege in country music.",
"status": "publish",
"parent": 0,
"modified": 1726766217,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1235
},
"headData": {
"title": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED",
"description": "The new PBS documentary offers a too-charitable reading of power and privilege in country music.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest",
"datePublished": "2019-09-16T15:19:58-07:00",
"dateModified": "2024-09-19T10:16:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\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>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race",
"authors": [
"185"
],
"categories": [
"arts_2303",
"arts_74",
"arts_69"
],
"tags": [
"arts_2767",
"arts_7534",
"arts_7535",
"arts_1118",
"arts_2041",
"arts_3650"
],
"featImg": "arts_13866519",
"label": "arts"
},
"arts_13866072": {
"type": "posts",
"id": "arts_13866072",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866072",
"score": null,
"sort": [
1568244587000
]
},
"guestAuthors": [],
"slug": "the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives",
"title": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives",
"publishDate": 1568244587,
"format": "standard",
"headTitle": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>For Brits who have grown up observing what happens to women who marry into the royal family, the ongoing bullying of Meghan Markle is miserable to watch but par for the course.\u003c/p>\n\u003cp>Before her wedding, excitement that an American woman of color was marrying into the UK’s most prestigious family reached fever pitch. Around the world, an estimated \u003ca href=\"https://www.nowtolove.com.au/royals/british-royal-family/meghan-markle-feud-53096\" target=\"_blank\" rel=\"noopener noreferrer\">1.9 billion\u003c/a> people\u003ca href=\"https://www.kqed.org/pop/103656/i-stayed-up-all-night-to-watch-the-royal-wedding-so-you-didnt-have-to\" target=\"_blank\" rel=\"noopener noreferrer\"> stayed glued to their TVs\u003c/a> to watch Prince Harry put a ring on it. At the time, Markle was described as “\u003ca href=\"https://www.youtube.com/watch?v=IM9u8PRJZyM\" target=\"_blank\" rel=\"noopener noreferrer\">radiant\u003c/a>” and “\u003ca href=\"https://www.usmagazine.com/celebrity-news/news/duchess-meghan-was-a-regal-beauty-at-royal-wedding-bff-says/\" target=\"_blank\" rel=\"noopener noreferrer\">a regal beauty\u003c/a>.” Cute reports quickly emerged that she was so close with Queen Elizabeth II that she was calling her “\u003ca href=\"https://www.her.ie/celeb/meghan-markle-nickname-queen-cute-408880\" target=\"_blank\" rel=\"noopener noreferrer\">mama\u003c/a>” instead of the traditional “ma’am.” [aside postid='arts_13872986']\u003c/p>\n\u003cp>Within months, that excitement had given way to rumors of prima donna behavior (including “\u003ca href=\"https://www.dailymail.co.uk/news/article-6450545/Hunt-Palace-mole-revealed-news-rift-Kate-Meghan.html\" target=\"_blank\" rel=\"noopener noreferrer\">being brusque with servants\u003c/a>“), controversies over \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/meghan-markle-disturbed-by-father-thomas-markle-staging-photos/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s treatment of her estranged father\u003c/a> and anger over her \u003ca href=\"https://www.huffpost.com/entry/prince-william-kate-middleton-fly-commercial_n_5d5d8a5de4b0701d280cd079\" target=\"_blank\" rel=\"noopener noreferrer\">taking private jets\u003c/a>. Most recently (and bizarrely), she was even blamed for Serena Williams losing at the US Open.\u003c/p>\n\u003cp>https://twitter.com/FDain2/status/1170560592878407680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1170560592878407680&ref_url=https%3A%2F%2Fwww.instyle.com%2Fnews%2Fmeghan-markle-accused-of-jinxing-serena-williams\u003c/p>\n\u003cp>The ongoing pile-on might be \u003ca href=\"https://twitter.com/Pink/status/1163658843554893826\" target=\"_blank\" rel=\"noopener noreferrer\">shocking for Americans\u003c/a>, but everything happening to Meghan Markle right now has happened before, and repeatedly, to every woman who has ever married into Britain’s royal family—even down to being called a jinx. (In 2005, the term was used in both \u003cem>The Daily Express\u003c/em> and \u003cem>The Sun\u003c/em> newspapers about Camilla Parker Bowles’ imminent wedding to Prince Charles. In 2010, \u003cem>The Daily Star\u003c/em> used the word in relation to Princess Diana’s \u003ca href=\"https://www.dailystar.co.uk/news/latest-news/jinxed-princess-diana-ring-ritual-18257588\" target=\"_blank\" rel=\"noopener noreferrer\">engagement ring\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before the target moved to Meghan Markle’s back, Kate Middleton was the focus of appalling treatment by the press and public. For most of her and Prince William’s courtship, she was portrayed in the British tabloids as “\u003ca href=\"https://www.cheatsheet.com/entertainment/kate-middleton-nickname-waity-katie.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Waity Katie\u003c/a>“—a sad figure desperate to get to the throne by any means necessary. Her perceived \u003ca href=\"https://www.chatelaine.com/living/waity-katie-or-lazy-katie-kate-middleton-quits-her-job-to-become-a-royal/\" target=\"_blank\" rel=\"noopener noreferrer\">lack of career ambitions\u003c/a> were a source of mockery. And an array of trivialities—in particular a photo of her \u003ca href=\"https://www.crfashionbook.com/celebrity/a25804498/kate-middleton-birthday-charity-dress/\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a sheer dress\u003c/a> in a college fashion show—were unfairly analyzed in relation to her worthiness as a future queen. [aside postid='arts_13878920']\u003c/p>\n\u003cp>In those pre-marriage days, Prince Harry’s ex-girlfriend, Chelsy Davy, was also subjected to harsh scrutiny during the seven years they were on-again, off-again. Davy was frequently labeled “\u003ca href=\"https://www.celebitchy.com/153314/chelsy_davy_is_going_to_be_dressed_inappropriately_for_the_wedding_of_course/\" target=\"_blank\" rel=\"noopener noreferrer\">trashy\u003c/a>,” and mocked endlessly over her appearance (in particular after one unfortunate \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-1127222/The-future-truly-orange-newly-single-fake-tan-fan-Chelsy-Davy.html\" target=\"_blank\" rel=\"noopener noreferrer\">fake tan\u003c/a>). Even after she attended Prince Harry and Markle’s wedding with \u003ca href=\"https://www.bustle.com/p/prince-harry-reportedly-called-chelsy-davy-before-the-royal-wedding-its-still-none-of-your-business-9194271\" target=\"_blank\" rel=\"noopener noreferrer\">a big smile on her face\u003c/a>, she was turned into a meme.\u003c/p>\n\u003cp>https://twitter.com/SamanthaQuek/status/997768040094814209\u003c/p>\n\u003cp>The royal biography \u003cem>Harry: Conversations with the Prince\u003c/em> detailed \u003ca href=\"https://www.closerweekly.com/posts/chelsy-davy-dumped-prince-harry-prince-william-kate-middleton-wedding-164527/\" target=\"_blank\" rel=\"noopener noreferrer\">Davy’s reluctance\u003c/a> to make a lifelong commitment to such a high profile relationship. No wonder she looked so stressed in that church, knowing how many eyes were on her. [aside postid='arts_13873680']\u003c/p>\n\u003cp>Far exceeding what William and Harry’s romantic partners have been subjected to is the sheer unbridled hatred reserved for their father’s wife, Camilla Parker Bowles. The Palace’s struggle to get the public on board with the woman Princess Diana famously referred to as the “\u003ca href=\"https://www.youtube.com/watch?v=Ocw_OXfZckU\" target=\"_blank\" rel=\"noopener noreferrer\">third person\u003c/a>” in her and Charles’ marriage has been immense. And while Charles’ ascension to the throne has undoubtedly been delayed for years because of it, he has not been subjected to the kinds of personal barbs continually thrown in Bowles’ direction.\u003c/p>\n\u003cp>Until fairly recently, when Bowles wasn’t having her \u003ca href=\"https://www.pinterest.com/pin/388365167848053915/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">looks insulted\u003c/a>, she was portrayed almost exclusively as an adulterous she-devil. The British public may no longer refer to her as “\u003ca href=\"https://www.express.co.uk/news/royal/1074824/camilla-parker-bowles-news-Yorkshire-Pudding-duchess-of-cornwall-transformation-spt\" target=\"_blank\" rel=\"noopener noreferrer\">the most hated woman in Britain\u003c/a>” but the “\u003ca href=\"https://www.ibtimes.com/camilla-parker-bowles-branded-homewrecker-blamed-princess-dianas-suffering-birthday-2807509\" target=\"_blank\" rel=\"noopener noreferrer\">homewrecker\u003c/a>” tag follows her to this day.\u003c/p>\n\u003cp>Bowles’ problems were exacerbated by the public obsession with, and posthumous canonization of, Princess Diana. Because of the manner of Diana’s death, we acutely remember the paparazzi’s obsession with her but forget what caused that hounding in the first place: a public hungry to know her every move, and a press happy to \u003ca href=\"https://www.today.com/news/princess-diana-s-iconic-skirt-moment-photographer-arthur-edwards-shares-t111013\" target=\"_blank\" rel=\"noopener noreferrer\">body shame\u003c/a>, \u003ca href=\"https://people.com/archive/cover-story-diss-and-tell-vol-42-no-16/\" target=\"_blank\" rel=\"noopener noreferrer\">slut shame\u003c/a> and criticize her \u003ca href=\"https://lisawallerrogers.com/tag/british-royal-familynobles/page/4/\" target=\"_blank\" rel=\"noopener noreferrer\">taste in men\u003c/a> on a near-daily basis. \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1560857/Princess-Diana-Editors-admit-guilt-over-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">Guilt\u003c/a> over how it treated her in life, it has been suggested, played a role in the British public’s unprecedented outpouring of grief after her death.\u003c/p>\n\u003cfigure id=\"attachment_13866161\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/duchpork.jpg\" alt=\"'The News of the World' used Fergie's cruelest nickname, "Duchess of Pork," in a 2010 report about her cash for royal access scandal.\" width=\"240\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork-160x212.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">‘The News of the World’ used Fergie’s cruelest nickname, “Duchess of Pork,” in a 2010 report about her cash for royal access scandal.\u003c/figcaption>\u003c/figure>\n\u003cp>Though she was granted fewer column inches, Diana’s sister-in-law, Sarah “Fergie” Ferguson—who married Charles’ brother, Prince Andrew, in 1986—was subjected to a jaw-dropping degree of cruelty. At one point, the tabloid obsession with her (perfectly average) weight was so intense, Fergie was dubbed “\u003ca href=\"https://eng.amomama.com/161384-princess-beatrices-childhood-issues-that.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Duchess of Pork\u003c/a>” (a pun on her official “Duchess of York” title). Speaking to the \u003ca href=\"https://soundcloud.com/gemma-and-emma-podcast/tlnh-sarah-duchess-of-york\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gemma & Emma\u003c/em>\u003c/a> podcast in 2017, Ferguson recalled: “One of the worst headlines said 82 percent would rather sleep with a goat than Fergie. It’s never left me.”\u003c/p>\n\u003cp>The thread that unites all of these royal wives, however, is one of tabloid journalism’s favorite tropes: the catfight. This year, in an essay for \u003cem>Hello!\u003c/em> magazine, Sarah Ferguson recalled how she and Princess Diana were frequently \u003ca href=\"https://www.eonline.com/news/1014451/the-heartbreaking-truth-about-fergie-vs-diana-why-the-pitting-of-meghan-markle-against-kate-middleton-hasn-t-reached-that-level-yet\" target=\"_blank\" rel=\"noopener noreferrer\">pitted against each other\u003c/a> by the press, despite their very close friendship. Alleged wars between \u003ca href=\"https://www.newidea.com.au/sarah-ferguson-and-camilla-parker-bowles-feud\" target=\"_blank\" rel=\"noopener noreferrer\">Fergie and Parker Bowles\u003c/a> have surfaced in the media more recently.\u003c/p>\n\u003cp>Predictably, a \u003ca href=\"https://www.express.co.uk/news/royal/1168107/Royal-feud-Meghan-Markle-Prince-Harry-Kate-Middleton-royal-rift-news\" target=\"_blank\" rel=\"noopener noreferrer\">supposed feud\u003c/a> between Markle and Middleton dominated the press for months after Markle’s wedding, and was blamed for causing a rift between their otherwise close husbands. Middleton has since been given \u003ca href=\"https://www.express.co.uk/news/royal/1163007/Kate-Middleton-vs-Meghan-Markle-feud-royal-rift-over\" target=\"_blank\" rel=\"noopener noreferrer\">credit for ending the “feud”\u003c/a>—probably because that portrayal lines up with the conciliatory image created for her in the years when she was still being pitted against Davy. Back then, Davy was portrayed as \u003ca href=\"https://www.cheatsheet.com/entertainment/why-prince-harrys-ex-chelsy-davy-refused-to-be-friends-with-kate-middleton.html/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly rejecting Kate\u003c/a>‘s attempts at friendship—a storyline that served to reinforce the press’s portrayal of Middleton as a doormat and Davy as low class.\u003c/p>\n\u003cp>Though Princes William and Harry also deal with public scrutiny—and Prince Charles has certainly had his fair share—there is an underlying sense left over from their younger years that, unless they are doing something particularly egregious (think \u003ca href=\"https://www.eonline.com/fr/news/340478/prince-harry-naked-vegas-photos-anatomy-of-a-royal-scandal\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Harry\u003c/a> in Las Vegas), Princess Diana’s boys should be left alone. This is in part because, unlike their wives, they didn’t choose their high profile positions. There’s something about the issue of consciously choosing to join the royal ranks that seems to make wives fair game. The fact that Markle and Middleton are the first so-called “commoners” to do so has exacerbated matters, as has \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a28771396/jessica-mulroney-meghan-markle-racist-bullies/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s position\u003c/a> as the first royal woman of color \u003ca href=\"https://aaregistry.org/story/englands-first-black-queen-sophie-charlotte-born/\" target=\"_blank\" rel=\"noopener noreferrer\">since the 18th Century\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it stands, Markle is reported to be “\u003ca href=\"https://www.vanityfair.com/style/2019/08/meghan-markle-smartworks-instagram-story-private-jet\" target=\"_blank\" rel=\"noopener noreferrer\">unfazed\u003c/a>” by the relentless criticism. Good job too, given that the bullying of Middleton only ceased when she arrived. Markle now faces a future in which being bullied will simply be part of her everyday reality. Sadly for her, until Prince George starts dating in about a decade, there’s no one left to shift the spotlight off her.\u003c/p>\n\n",
"blocks": [],
"excerpt": "For years, tabloids have scrutinized and mocked the women who've married into the royal family.",
"status": "publish",
"parent": 0,
"modified": 1726766231,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1296
},
"headData": {
"title": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives | KQED",
"description": "For years, tabloids have scrutinized and mocked the women who've married into the royal family.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives",
"datePublished": "2019-09-11T16:29:47-07:00",
"dateModified": "2024-09-19T10:17:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Brits who have grown up observing what happens to women who marry into the royal family, the ongoing bullying of Meghan Markle is miserable to watch but par for the course.\u003c/p>\n\u003cp>Before her wedding, excitement that an American woman of color was marrying into the UK’s most prestigious family reached fever pitch. Around the world, an estimated \u003ca href=\"https://www.nowtolove.com.au/royals/british-royal-family/meghan-markle-feud-53096\" target=\"_blank\" rel=\"noopener noreferrer\">1.9 billion\u003c/a> people\u003ca href=\"https://www.kqed.org/pop/103656/i-stayed-up-all-night-to-watch-the-royal-wedding-so-you-didnt-have-to\" target=\"_blank\" rel=\"noopener noreferrer\"> stayed glued to their TVs\u003c/a> to watch Prince Harry put a ring on it. At the time, Markle was described as “\u003ca href=\"https://www.youtube.com/watch?v=IM9u8PRJZyM\" target=\"_blank\" rel=\"noopener noreferrer\">radiant\u003c/a>” and “\u003ca href=\"https://www.usmagazine.com/celebrity-news/news/duchess-meghan-was-a-regal-beauty-at-royal-wedding-bff-says/\" target=\"_blank\" rel=\"noopener noreferrer\">a regal beauty\u003c/a>.” Cute reports quickly emerged that she was so close with Queen Elizabeth II that she was calling her “\u003ca href=\"https://www.her.ie/celeb/meghan-markle-nickname-queen-cute-408880\" target=\"_blank\" rel=\"noopener noreferrer\">mama\u003c/a>” instead of the traditional “ma’am.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13872986",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within months, that excitement had given way to rumors of prima donna behavior (including “\u003ca href=\"https://www.dailymail.co.uk/news/article-6450545/Hunt-Palace-mole-revealed-news-rift-Kate-Meghan.html\" target=\"_blank\" rel=\"noopener noreferrer\">being brusque with servants\u003c/a>“), controversies over \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/meghan-markle-disturbed-by-father-thomas-markle-staging-photos/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s treatment of her estranged father\u003c/a> and anger over her \u003ca href=\"https://www.huffpost.com/entry/prince-william-kate-middleton-fly-commercial_n_5d5d8a5de4b0701d280cd079\" target=\"_blank\" rel=\"noopener noreferrer\">taking private jets\u003c/a>. Most recently (and bizarrely), she was even blamed for Serena Williams losing at the US Open.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1170560592878407680"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing pile-on might be \u003ca href=\"https://twitter.com/Pink/status/1163658843554893826\" target=\"_blank\" rel=\"noopener noreferrer\">shocking for Americans\u003c/a>, but everything happening to Meghan Markle right now has happened before, and repeatedly, to every woman who has ever married into Britain’s royal family—even down to being called a jinx. (In 2005, the term was used in both \u003cem>The Daily Express\u003c/em> and \u003cem>The Sun\u003c/em> newspapers about Camilla Parker Bowles’ imminent wedding to Prince Charles. In 2010, \u003cem>The Daily Star\u003c/em> used the word in relation to Princess Diana’s \u003ca href=\"https://www.dailystar.co.uk/news/latest-news/jinxed-princess-diana-ring-ritual-18257588\" target=\"_blank\" rel=\"noopener noreferrer\">engagement ring\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before the target moved to Meghan Markle’s back, Kate Middleton was the focus of appalling treatment by the press and public. For most of her and Prince William’s courtship, she was portrayed in the British tabloids as “\u003ca href=\"https://www.cheatsheet.com/entertainment/kate-middleton-nickname-waity-katie.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Waity Katie\u003c/a>“—a sad figure desperate to get to the throne by any means necessary. Her perceived \u003ca href=\"https://www.chatelaine.com/living/waity-katie-or-lazy-katie-kate-middleton-quits-her-job-to-become-a-royal/\" target=\"_blank\" rel=\"noopener noreferrer\">lack of career ambitions\u003c/a> were a source of mockery. And an array of trivialities—in particular a photo of her \u003ca href=\"https://www.crfashionbook.com/celebrity/a25804498/kate-middleton-birthday-charity-dress/\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a sheer dress\u003c/a> in a college fashion show—were unfairly analyzed in relation to her worthiness as a future queen. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13878920",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In those pre-marriage days, Prince Harry’s ex-girlfriend, Chelsy Davy, was also subjected to harsh scrutiny during the seven years they were on-again, off-again. Davy was frequently labeled “\u003ca href=\"https://www.celebitchy.com/153314/chelsy_davy_is_going_to_be_dressed_inappropriately_for_the_wedding_of_course/\" target=\"_blank\" rel=\"noopener noreferrer\">trashy\u003c/a>,” and mocked endlessly over her appearance (in particular after one unfortunate \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-1127222/The-future-truly-orange-newly-single-fake-tan-fan-Chelsy-Davy.html\" target=\"_blank\" rel=\"noopener noreferrer\">fake tan\u003c/a>). Even after she attended Prince Harry and Markle’s wedding with \u003ca href=\"https://www.bustle.com/p/prince-harry-reportedly-called-chelsy-davy-before-the-royal-wedding-its-still-none-of-your-business-9194271\" target=\"_blank\" rel=\"noopener noreferrer\">a big smile on her face\u003c/a>, she was turned into a meme.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "997768040094814209"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The royal biography \u003cem>Harry: Conversations with the Prince\u003c/em> detailed \u003ca href=\"https://www.closerweekly.com/posts/chelsy-davy-dumped-prince-harry-prince-william-kate-middleton-wedding-164527/\" target=\"_blank\" rel=\"noopener noreferrer\">Davy’s reluctance\u003c/a> to make a lifelong commitment to such a high profile relationship. No wonder she looked so stressed in that church, knowing how many eyes were on her. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13873680",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Far exceeding what William and Harry’s romantic partners have been subjected to is the sheer unbridled hatred reserved for their father’s wife, Camilla Parker Bowles. The Palace’s struggle to get the public on board with the woman Princess Diana famously referred to as the “\u003ca href=\"https://www.youtube.com/watch?v=Ocw_OXfZckU\" target=\"_blank\" rel=\"noopener noreferrer\">third person\u003c/a>” in her and Charles’ marriage has been immense. And while Charles’ ascension to the throne has undoubtedly been delayed for years because of it, he has not been subjected to the kinds of personal barbs continually thrown in Bowles’ direction.\u003c/p>\n\u003cp>Until fairly recently, when Bowles wasn’t having her \u003ca href=\"https://www.pinterest.com/pin/388365167848053915/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">looks insulted\u003c/a>, she was portrayed almost exclusively as an adulterous she-devil. The British public may no longer refer to her as “\u003ca href=\"https://www.express.co.uk/news/royal/1074824/camilla-parker-bowles-news-Yorkshire-Pudding-duchess-of-cornwall-transformation-spt\" target=\"_blank\" rel=\"noopener noreferrer\">the most hated woman in Britain\u003c/a>” but the “\u003ca href=\"https://www.ibtimes.com/camilla-parker-bowles-branded-homewrecker-blamed-princess-dianas-suffering-birthday-2807509\" target=\"_blank\" rel=\"noopener noreferrer\">homewrecker\u003c/a>” tag follows her to this day.\u003c/p>\n\u003cp>Bowles’ problems were exacerbated by the public obsession with, and posthumous canonization of, Princess Diana. Because of the manner of Diana’s death, we acutely remember the paparazzi’s obsession with her but forget what caused that hounding in the first place: a public hungry to know her every move, and a press happy to \u003ca href=\"https://www.today.com/news/princess-diana-s-iconic-skirt-moment-photographer-arthur-edwards-shares-t111013\" target=\"_blank\" rel=\"noopener noreferrer\">body shame\u003c/a>, \u003ca href=\"https://people.com/archive/cover-story-diss-and-tell-vol-42-no-16/\" target=\"_blank\" rel=\"noopener noreferrer\">slut shame\u003c/a> and criticize her \u003ca href=\"https://lisawallerrogers.com/tag/british-royal-familynobles/page/4/\" target=\"_blank\" rel=\"noopener noreferrer\">taste in men\u003c/a> on a near-daily basis. \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1560857/Princess-Diana-Editors-admit-guilt-over-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">Guilt\u003c/a> over how it treated her in life, it has been suggested, played a role in the British public’s unprecedented outpouring of grief after her death.\u003c/p>\n\u003cfigure id=\"attachment_13866161\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/duchpork.jpg\" alt=\"'The News of the World' used Fergie's cruelest nickname, "Duchess of Pork," in a 2010 report about her cash for royal access scandal.\" width=\"240\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork-160x212.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">‘The News of the World’ used Fergie’s cruelest nickname, “Duchess of Pork,” in a 2010 report about her cash for royal access scandal.\u003c/figcaption>\u003c/figure>\n\u003cp>Though she was granted fewer column inches, Diana’s sister-in-law, Sarah “Fergie” Ferguson—who married Charles’ brother, Prince Andrew, in 1986—was subjected to a jaw-dropping degree of cruelty. At one point, the tabloid obsession with her (perfectly average) weight was so intense, Fergie was dubbed “\u003ca href=\"https://eng.amomama.com/161384-princess-beatrices-childhood-issues-that.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Duchess of Pork\u003c/a>” (a pun on her official “Duchess of York” title). Speaking to the \u003ca href=\"https://soundcloud.com/gemma-and-emma-podcast/tlnh-sarah-duchess-of-york\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gemma & Emma\u003c/em>\u003c/a> podcast in 2017, Ferguson recalled: “One of the worst headlines said 82 percent would rather sleep with a goat than Fergie. It’s never left me.”\u003c/p>\n\u003cp>The thread that unites all of these royal wives, however, is one of tabloid journalism’s favorite tropes: the catfight. This year, in an essay for \u003cem>Hello!\u003c/em> magazine, Sarah Ferguson recalled how she and Princess Diana were frequently \u003ca href=\"https://www.eonline.com/news/1014451/the-heartbreaking-truth-about-fergie-vs-diana-why-the-pitting-of-meghan-markle-against-kate-middleton-hasn-t-reached-that-level-yet\" target=\"_blank\" rel=\"noopener noreferrer\">pitted against each other\u003c/a> by the press, despite their very close friendship. Alleged wars between \u003ca href=\"https://www.newidea.com.au/sarah-ferguson-and-camilla-parker-bowles-feud\" target=\"_blank\" rel=\"noopener noreferrer\">Fergie and Parker Bowles\u003c/a> have surfaced in the media more recently.\u003c/p>\n\u003cp>Predictably, a \u003ca href=\"https://www.express.co.uk/news/royal/1168107/Royal-feud-Meghan-Markle-Prince-Harry-Kate-Middleton-royal-rift-news\" target=\"_blank\" rel=\"noopener noreferrer\">supposed feud\u003c/a> between Markle and Middleton dominated the press for months after Markle’s wedding, and was blamed for causing a rift between their otherwise close husbands. Middleton has since been given \u003ca href=\"https://www.express.co.uk/news/royal/1163007/Kate-Middleton-vs-Meghan-Markle-feud-royal-rift-over\" target=\"_blank\" rel=\"noopener noreferrer\">credit for ending the “feud”\u003c/a>—probably because that portrayal lines up with the conciliatory image created for her in the years when she was still being pitted against Davy. Back then, Davy was portrayed as \u003ca href=\"https://www.cheatsheet.com/entertainment/why-prince-harrys-ex-chelsy-davy-refused-to-be-friends-with-kate-middleton.html/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly rejecting Kate\u003c/a>‘s attempts at friendship—a storyline that served to reinforce the press’s portrayal of Middleton as a doormat and Davy as low class.\u003c/p>\n\u003cp>Though Princes William and Harry also deal with public scrutiny—and Prince Charles has certainly had his fair share—there is an underlying sense left over from their younger years that, unless they are doing something particularly egregious (think \u003ca href=\"https://www.eonline.com/fr/news/340478/prince-harry-naked-vegas-photos-anatomy-of-a-royal-scandal\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Harry\u003c/a> in Las Vegas), Princess Diana’s boys should be left alone. This is in part because, unlike their wives, they didn’t choose their high profile positions. There’s something about the issue of consciously choosing to join the royal ranks that seems to make wives fair game. The fact that Markle and Middleton are the first so-called “commoners” to do so has exacerbated matters, as has \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a28771396/jessica-mulroney-meghan-markle-racist-bullies/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s position\u003c/a> as the first royal woman of color \u003ca href=\"https://aaregistry.org/story/englands-first-black-queen-sophie-charlotte-born/\" target=\"_blank\" rel=\"noopener noreferrer\">since the 18th Century\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it stands, Markle is reported to be “\u003ca href=\"https://www.vanityfair.com/style/2019/08/meghan-markle-smartworks-instagram-story-private-jet\" target=\"_blank\" rel=\"noopener noreferrer\">unfazed\u003c/a>” by the relentless criticism. Good job too, given that the bullying of Middleton only ceased when she arrived. Markle now faces a future in which being bullied will simply be part of her everyday reality. Sadly for her, until Prince George starts dating in about a decade, there’s no one left to shift the spotlight off her.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives",
"authors": [
"11242"
],
"categories": [
"arts_2303",
"arts_7862",
"arts_75"
],
"tags": [
"arts_2767",
"arts_1118",
"arts_3423",
"arts_8581",
"arts_8580",
"arts_8583",
"arts_8126"
],
"featImg": "arts_13866096",
"label": "arts"
},
"arts_13865685": {
"type": "posts",
"id": "arts_13865685",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865685",
"score": null,
"sort": [
1568052155000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1568052155,
"format": "standard",
"title": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash",
"headTitle": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash | KQED",
"content": "\u003cp>Last week, the woman sexually assaulted by former “Stanford swimmer” \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>, whose 2016 victim impact statement shook the nation, revealed her identity and announced the imminent release of her memoir. Her name is Chanel Miller, and the timing of her book, aptly titled \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Know My Name\u003c/i>\u003c/a>, could not be better, coming in the middle of an intensifying backlash against the #MeToo movement.\u003c/p>\n\u003cp>The tide has been turning for months. Just last week, Scarlett Johansson asserted in \u003ca href=\"https://www.hollywoodreporter.com/features/scarlett-johansson-talks-woody-allen-elizabeth-warren-black-widow-1235618\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> that she “loves” and “believes” accused \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">child-molester Woody Allen\u003c/a> and would “work with him anytime.”\u003c/p>\n\u003cp>Billy Bush is about to return to television as host of \u003cem>Extra\u003c/em>, after being fired from NBC’s \u003cem>Today\u003c/em> for giggling his way through a backstage recording of Donald Trump bragging about sexual assault. “I got taken out,” \u003ca href=\"https://www.hollywoodreporter.com/news/billy-bush-says-trump-access-hollywood-video-was-weaponized-1238226?utm_source=twitter&utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">he just told Gayle King\u003c/a> on \u003cem>CBS This Morning\u003c/em>, “but I wasn’t the target.”\u003c/p>\n\u003cp>Last month, Netflix premiered \u003ca href=\"https://www.netflix.com/title/81140577\" target=\"_blank\" rel=\"noopener noreferrer\">a special\u003c/a> by self-identified “victim blamer” Dave Chapelle, in which he declared “I got a f-cking Me Too headache” and defended Louis C.K. He also attempted to draw a direct correlation between women speaking up and the attack on reproductive rights currently unfolding nationally. “What the f-ck is your agenda, ladies?” he asked. “Is sexism dead? No, in fact, the opposite happened.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vI19NamI_OE\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> ran a sympathetic profile of disgraced senator Al Franken, with Jane Mayer writing that Franken “told me that his therapist had likened his experience to ‘what happens when primates are shunned and humiliated by the rest of the other primates.’”\u003c/p>\n\u003cp>That same month, Uma Thurman’s revelations about shocking \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\" target=\"_blank\" rel=\"noopener noreferrer\">working conditions under director Quentin Tarantino\u003c/a> were effectively wiped from the public consciousness with the release of his latest movie, \u003cem>Once Upon a Time in Hollywood\u003c/em>—a film currently rated 85-percent fresh on Rotten Tomatoes.\u003c/p>\n\u003cp>[pullquote size='large' align='right']‘This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence.’[/pullquote]\u003c/p>\n\u003cp>Inevitable for a story featuring a fictionalized Sharon Tate, the press tour for Tarantino’s movie also put Roman Polanski back in the spotlight. Not for being \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">a fugitive\u003c/a>, or a statutory rapist; rather because Tarantino is a “\u003ca href=\"https://www.indiewire.com/2019/05/once-upon-a-time-in-hollywood-quentin-tarantino-roman-polanski-1202143803/\" target=\"_blank\" rel=\"noopener noreferrer\">fan of Roman Polanski\u003c/a>’s work, but particularly \u003cem>Rosemary’s Baby\u003c/em>.” Then, despite his 2018 expulsion from the Motion Picture Academy, Polanski then got himself a \u003ca href=\"https://www.vanityfair.com/hollywood/2019/08/roman-polanski-venice-jaccuse-standing-ovation\" target=\"_blank\" rel=\"noopener noreferrer\">standing ovation\u003c/a> and the Grand Jury Prize at the Venice Film Festival for his latest film, \u003cem>J’Accuse\u003c/em>.\u003c/p>\n\u003cp>To make matters worse, several research papers have emerged suggesting women will be punished for speaking up about sexual harassment and assault. In May, the \u003ca href=\"https://leanin.org/sexual-harassment-backlash-survey-results\" target=\"_blank\" rel=\"noopener noreferrer\">Lean In Institute reported\u003c/a> “60 percent of managers who are men are uncomfortable participating in a common work activity with a woman, such as mentoring, working alone, or socializing together. That’s a 32 percent jump from a year ago.”\u003c/p>\n\u003cp>Then a \u003cem>Harvard Business Review\u003c/em> story titled “\u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">The #MeToo Backlash\u003c/a>,” described how both male and female professionals from “a wide range of industries” have changed their behavior towards women in the workplace in a negative way, post-#MeToo. The report primarily focused on the fact that 41 percent of men and 57 percent of women agreed that “men in general will be more reluctant to have one-on-one meetings with women.”\u003c/p>\n\u003cp>This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence. It’s a collective suggestion that #MeToo had its moment, but the movement’s gone too far now. It’s an indirect request for women to go back to their corners and leave all of these poor, frightened men alone.\u003c/p>\n\u003cfigure id=\"attachment_13865782\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png\" alt=\"Chanel Miller, appearing on '60 Minutes.'\" width=\"243\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png 243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM-160x227.png 160w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">Chanel Miller, appearing on ’60 Minutes.’ \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chanel Miller—known only as Emily Doe until now—had the distinction of being one of the first to speak out loudly enough to be heard internationally. Her case predated #MeToo, but her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">searing victim impact statement\u003c/a>, first published by Buzzfeed, arguably provided the first spark for the incendiary movement that would explode a year later.\u003c/p>\n\u003cp>Because so much has happened between her case and now, it’s easy to forget that it was she alone who ultimately inspired the campaigns that successfully \u003ca href=\"https://harvardlawreview.org/2019/02/california-judge-recalled-for-sentence-in-sexual-assault-case/\" target=\"_blank\" rel=\"noopener noreferrer\">unseated Judge Aaron Persky\u003c/a> (the man responsible for giving Turner a sentence that allowed him to get out of county jail after only three months), \u003cem>and\u003c/em> got a bill signed into California law that imposes \u003ca href=\"https://www.theguardian.com/us-news/2016/sep/30/stanford-sexual-assault-case-california-rape-law\" target=\"_blank\" rel=\"noopener noreferrer\">mandatory minimum sentences\u003c/a> for sexual assault cases. It was the first case this century to so prominently highlight the issues of white male privilege and a legal system that is prone to disregarding the suffering of sexual assault survivors.\u003c/p>\n\u003cp>Miller reportedly began writing \u003cem>Know My Name\u003c/em> in 2017, using the book to piece together exactly what had happened to her, and heal from it. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/books/chanel-miller-brock-turner-assault-stanford.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the focus of Miller’s writing expanded “as conversations about sexual violence moved increasingly to the fore” of the national consciousness.\u003c/p>\n\u003cp>What has been obvious in the last few months is that a sizable swath of America has lost sight of the deeply personal, private and systemic nature of sexual assault and harassment that started #MeToo in the first place. Over time—and thanks to the sheer number of famous men brought down by the movement—the focus has shifted disproportionately to the most prominent celebrity cases.\u003c/p>\n\u003cp>Now that men like Bill Cosby, Jeffrey Epstein and Harvey Weinstein (whose \u003ca href=\"https://www.usatoday.com/story/life/2019/04/26/harvey-weinstein-sex-crimes-case-public-media-court-high-stakes/3542755002/\" target=\"_blank\" rel=\"noopener noreferrer\">trial starts this week\u003c/a>) have contended with the legal consequences of their actions, there has been an increasing sense that the biggest monsters have been brought down and the hardest work has already been done. Miller’s return is well-timed to drag the spotlight off the most grotesque men brought down by #MeToo and back onto ordinary, everyday survivors. It gives the nation a much-needed reminder that this was never really only about bad behavior within celebrity circles.\u003c/p>\n\u003cfigure id=\"attachment_13865848\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9780735223707.jpg\" alt=\"'Know My Name' by Chanel Miller. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Know My Name’ by Chanel Miller. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Miller’s book is also bound to do—and what Hulu’s excellent new Harvey Weinstein documentary, \u003ca href=\"https://www.hulu.com/movie/untouchable-0204d474-dcce-44f3-af25-d1cca05aba3b\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Untouchable\u003c/em>\u003c/a>, just did—is to explain once more that the lasting trauma sexual assault survivors endure goes on long after trials end, the media attention dissipates and the conversations move elsewhere. It will reemphasize the importance of pushing women’s voices to the forefront and the good things that happen when we make space for that. It will also be an essential reminder of the injustices that women have historically faced, and continue to face.\u003c/p>\n\u003cp>One of the things that has been consistently buried in the reports about the negative workplace consequences of #MeToo is the undoubtedly \u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">positive news\u003c/a> that: “74 percent of women said they thought they would be more willing now to speak out against harassment, and 77 percent of men anticipated being more careful about potentially inappropriate behavior.” That is exactly the kind of progress that we must not lose sight of if #MeToo is to continue to thrive.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.refinery29.com/en-us/2018/05/197938/ashley-judd-healing-sexual-assault-times-up\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Judd made plain\u003c/a> at a #TimesUp event last year: “We use our voices, we weather retaliation—and we act up anyway.” Chanel Miller is a perfect example of how to do all of the above, and it is an honor to finally meet her.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Know My Name’ by Chanel Miller is out Sept. 24, 2019 from Viking. \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1333,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705022184,
"excerpt": "Chanel Miller's powerful writing marked the first rumblings of the burgeoning #MeToo movement; her new book is about surviving and moving forward. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Chanel Miller's powerful writing marked the first rumblings of the burgeoning #MeToo movement; her new book is about surviving and moving forward. ",
"title": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash",
"datePublished": "2019-09-09T11:02:35-07:00",
"dateModified": "2024-01-11T17:16:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-emily-does-book-know-my-name-could-help-reverse-the-metoo-backlash",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13865685/how-emily-does-book-know-my-name-could-help-reverse-the-metoo-backlash",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the woman sexually assaulted by former “Stanford swimmer” \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>, whose 2016 victim impact statement shook the nation, revealed her identity and announced the imminent release of her memoir. Her name is Chanel Miller, and the timing of her book, aptly titled \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Know My Name\u003c/i>\u003c/a>, could not be better, coming in the middle of an intensifying backlash against the #MeToo movement.\u003c/p>\n\u003cp>The tide has been turning for months. Just last week, Scarlett Johansson asserted in \u003ca href=\"https://www.hollywoodreporter.com/features/scarlett-johansson-talks-woody-allen-elizabeth-warren-black-widow-1235618\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> that she “loves” and “believes” accused \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">child-molester Woody Allen\u003c/a> and would “work with him anytime.”\u003c/p>\n\u003cp>Billy Bush is about to return to television as host of \u003cem>Extra\u003c/em>, after being fired from NBC’s \u003cem>Today\u003c/em> for giggling his way through a backstage recording of Donald Trump bragging about sexual assault. “I got taken out,” \u003ca href=\"https://www.hollywoodreporter.com/news/billy-bush-says-trump-access-hollywood-video-was-weaponized-1238226?utm_source=twitter&utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">he just told Gayle King\u003c/a> on \u003cem>CBS This Morning\u003c/em>, “but I wasn’t the target.”\u003c/p>\n\u003cp>Last month, Netflix premiered \u003ca href=\"https://www.netflix.com/title/81140577\" target=\"_blank\" rel=\"noopener noreferrer\">a special\u003c/a> by self-identified “victim blamer” Dave Chapelle, in which he declared “I got a f-cking Me Too headache” and defended Louis C.K. He also attempted to draw a direct correlation between women speaking up and the attack on reproductive rights currently unfolding nationally. “What the f-ck is your agenda, ladies?” he asked. “Is sexism dead? No, in fact, the opposite happened.”\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/vI19NamI_OE'\n title='//www.youtube.com/embed/vI19NamI_OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In July, \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> ran a sympathetic profile of disgraced senator Al Franken, with Jane Mayer writing that Franken “told me that his therapist had likened his experience to ‘what happens when primates are shunned and humiliated by the rest of the other primates.’”\u003c/p>\n\u003cp>That same month, Uma Thurman’s revelations about shocking \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\" target=\"_blank\" rel=\"noopener noreferrer\">working conditions under director Quentin Tarantino\u003c/a> were effectively wiped from the public consciousness with the release of his latest movie, \u003cem>Once Upon a Time in Hollywood\u003c/em>—a film currently rated 85-percent fresh on Rotten Tomatoes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "large",
"align": "right",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inevitable for a story featuring a fictionalized Sharon Tate, the press tour for Tarantino’s movie also put Roman Polanski back in the spotlight. Not for being \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">a fugitive\u003c/a>, or a statutory rapist; rather because Tarantino is a “\u003ca href=\"https://www.indiewire.com/2019/05/once-upon-a-time-in-hollywood-quentin-tarantino-roman-polanski-1202143803/\" target=\"_blank\" rel=\"noopener noreferrer\">fan of Roman Polanski\u003c/a>’s work, but particularly \u003cem>Rosemary’s Baby\u003c/em>.” Then, despite his 2018 expulsion from the Motion Picture Academy, Polanski then got himself a \u003ca href=\"https://www.vanityfair.com/hollywood/2019/08/roman-polanski-venice-jaccuse-standing-ovation\" target=\"_blank\" rel=\"noopener noreferrer\">standing ovation\u003c/a> and the Grand Jury Prize at the Venice Film Festival for his latest film, \u003cem>J’Accuse\u003c/em>.\u003c/p>\n\u003cp>To make matters worse, several research papers have emerged suggesting women will be punished for speaking up about sexual harassment and assault. In May, the \u003ca href=\"https://leanin.org/sexual-harassment-backlash-survey-results\" target=\"_blank\" rel=\"noopener noreferrer\">Lean In Institute reported\u003c/a> “60 percent of managers who are men are uncomfortable participating in a common work activity with a woman, such as mentoring, working alone, or socializing together. That’s a 32 percent jump from a year ago.”\u003c/p>\n\u003cp>Then a \u003cem>Harvard Business Review\u003c/em> story titled “\u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">The #MeToo Backlash\u003c/a>,” described how both male and female professionals from “a wide range of industries” have changed their behavior towards women in the workplace in a negative way, post-#MeToo. The report primarily focused on the fact that 41 percent of men and 57 percent of women agreed that “men in general will be more reluctant to have one-on-one meetings with women.”\u003c/p>\n\u003cp>This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence. It’s a collective suggestion that #MeToo had its moment, but the movement’s gone too far now. It’s an indirect request for women to go back to their corners and leave all of these poor, frightened men alone.\u003c/p>\n\u003cfigure id=\"attachment_13865782\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png\" alt=\"Chanel Miller, appearing on '60 Minutes.'\" width=\"243\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png 243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM-160x227.png 160w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">Chanel Miller, appearing on ’60 Minutes.’ \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chanel Miller—known only as Emily Doe until now—had the distinction of being one of the first to speak out loudly enough to be heard internationally. Her case predated #MeToo, but her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">searing victim impact statement\u003c/a>, first published by Buzzfeed, arguably provided the first spark for the incendiary movement that would explode a year later.\u003c/p>\n\u003cp>Because so much has happened between her case and now, it’s easy to forget that it was she alone who ultimately inspired the campaigns that successfully \u003ca href=\"https://harvardlawreview.org/2019/02/california-judge-recalled-for-sentence-in-sexual-assault-case/\" target=\"_blank\" rel=\"noopener noreferrer\">unseated Judge Aaron Persky\u003c/a> (the man responsible for giving Turner a sentence that allowed him to get out of county jail after only three months), \u003cem>and\u003c/em> got a bill signed into California law that imposes \u003ca href=\"https://www.theguardian.com/us-news/2016/sep/30/stanford-sexual-assault-case-california-rape-law\" target=\"_blank\" rel=\"noopener noreferrer\">mandatory minimum sentences\u003c/a> for sexual assault cases. It was the first case this century to so prominently highlight the issues of white male privilege and a legal system that is prone to disregarding the suffering of sexual assault survivors.\u003c/p>\n\u003cp>Miller reportedly began writing \u003cem>Know My Name\u003c/em> in 2017, using the book to piece together exactly what had happened to her, and heal from it. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/books/chanel-miller-brock-turner-assault-stanford.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the focus of Miller’s writing expanded “as conversations about sexual violence moved increasingly to the fore” of the national consciousness.\u003c/p>\n\u003cp>What has been obvious in the last few months is that a sizable swath of America has lost sight of the deeply personal, private and systemic nature of sexual assault and harassment that started #MeToo in the first place. Over time—and thanks to the sheer number of famous men brought down by the movement—the focus has shifted disproportionately to the most prominent celebrity cases.\u003c/p>\n\u003cp>Now that men like Bill Cosby, Jeffrey Epstein and Harvey Weinstein (whose \u003ca href=\"https://www.usatoday.com/story/life/2019/04/26/harvey-weinstein-sex-crimes-case-public-media-court-high-stakes/3542755002/\" target=\"_blank\" rel=\"noopener noreferrer\">trial starts this week\u003c/a>) have contended with the legal consequences of their actions, there has been an increasing sense that the biggest monsters have been brought down and the hardest work has already been done. Miller’s return is well-timed to drag the spotlight off the most grotesque men brought down by #MeToo and back onto ordinary, everyday survivors. It gives the nation a much-needed reminder that this was never really only about bad behavior within celebrity circles.\u003c/p>\n\u003cfigure id=\"attachment_13865848\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9780735223707.jpg\" alt=\"'Know My Name' by Chanel Miller. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Know My Name’ by Chanel Miller. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Miller’s book is also bound to do—and what Hulu’s excellent new Harvey Weinstein documentary, \u003ca href=\"https://www.hulu.com/movie/untouchable-0204d474-dcce-44f3-af25-d1cca05aba3b\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Untouchable\u003c/em>\u003c/a>, just did—is to explain once more that the lasting trauma sexual assault survivors endure goes on long after trials end, the media attention dissipates and the conversations move elsewhere. It will reemphasize the importance of pushing women’s voices to the forefront and the good things that happen when we make space for that. It will also be an essential reminder of the injustices that women have historically faced, and continue to face.\u003c/p>\n\u003cp>One of the things that has been consistently buried in the reports about the negative workplace consequences of #MeToo is the undoubtedly \u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">positive news\u003c/a> that: “74 percent of women said they thought they would be more willing now to speak out against harassment, and 77 percent of men anticipated being more careful about potentially inappropriate behavior.” That is exactly the kind of progress that we must not lose sight of if #MeToo is to continue to thrive.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.refinery29.com/en-us/2018/05/197938/ashley-judd-healing-sexual-assault-times-up\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Judd made plain\u003c/a> at a #TimesUp event last year: “We use our voices, we weather retaliation—and we act up anyway.” Chanel Miller is a perfect example of how to do all of the above, and it is an honor to finally meet her.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Know My Name’ by Chanel Miller is out Sept. 24, 2019 from Viking. \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865685/how-emily-does-book-know-my-name-could-help-reverse-the-metoo-backlash",
"authors": [
"11242"
],
"categories": [
"arts_73",
"arts_2303",
"arts_75"
],
"tags": [
"arts_2798",
"arts_549",
"arts_2767",
"arts_879",
"arts_1118",
"arts_1962",
"arts_977",
"arts_2777",
"arts_5676",
"arts_5050"
],
"featImg": "arts_13865689",
"label": "arts"
},
"arts_13865555": {
"type": "posts",
"id": "arts_13865555",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865555",
"score": null,
"sort": [
1567715112000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1567715112,
"format": "standard",
"title": "Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did",
"headTitle": "Thirty Seconds to Mars’ Jared Leto Started a Cult—Because of Course He Did | KQED",
"content": "\u003cp>In the middle of August, \u003ca href=\"https://www.thirtysecondstomars.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thirty Seconds to Mars\u003c/a>—the rock band Jared Leto has fronted since 1998—returned from an island retreat they’d held in Croatia for hundreds of fans and proudly posted photos that had a distinctly \u003ca href=\"https://en.wikipedia.org/wiki/Peoples_Temple\" target=\"_blank\" rel=\"noopener noreferrer\">Peoples Temple\u003c/a> vibe. (Well, if everyone at the Peoples Temple had been white, anyway.)\u003c/p>\n\u003cp>The pictures showed Leto doing his best Jesus impersonation in flowing white robes, addressing fans who sat dotingly at his feet, and being followed around by hoards of young women. The band captioned the photos “Yes, this is a cult.”\u003c/p>\n\u003cp>https://twitter.com/30SECONDSTOMARS/status/1161898672080089088\u003c/p>\n\u003cp>The band has been using that tagline for years now, on \u003ca href=\"https://www.facebook.com/thirtysecondstomars/photos/a.79739842822/10156128997402823/?type=1&theater\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a>, in \u003ca href=\"https://www.pinterest.com/pin/105201341268447507/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">merch\u003c/a> and in \u003ca href=\"https://www.youtube.com/watch?v=mLqHDhF-O28\" target=\"_blank\" rel=\"noopener noreferrer\">music videos.\u003c/a> In 2013, Leto \u003ca href=\"https://www.nytimes.com/2013/06/09/magazine/jared-letos-worst-kept-secret.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The New York Times Magazine\u003c/em>\u003c/a> that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.\u003c/p>\n\u003cp>Thirty Seconds to Mars fans already collectively refer to themselves as “\u003ca href=\"https://www.facebook.com/thirtysecondstomarsechelonarmy/\" target=\"_blank\" rel=\"noopener noreferrer\">the Echelon\u003c/a>,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GoIngKBPp3I\u003c/p>\n\u003cp>The Echelon also seems more than happy to don all-white uniforms and worship at Jared Leto’s feet.\u003c/p>\n\u003cp>https://twitter.com/Rio_To_Mars/status/1161959346730930176?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1161959346730930176&ref_url=https%3A%2F%2Fwww.pajiba.com%2Fcelebrities_are_better_than_you%2Fthirty-seconds-to-mars-and-jared-leto-have-a-cult-on-their-island.php\u003c/p>\n\u003cp>https://twitter.com/PaolaOnMars/status/1162018786360332289\u003c/p>\n\u003cp>https://twitter.com/altum68/status/1161909190287380480?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fd-12821477842867798592.ampproject.net%2F1908231648370%2Fframe.html\u003c/p>\n\u003cp>Like many cults, the Echelon espouses an us vs. them mentality via the hashtag #YouWouldntUnderstand, a refrain Leto repeats often. That idea has pushed supporters to ever more fervent degrees of devotion any time the band receives any degree of criticism. (Scientology followers have been employing a similar methodology for decades.)\u003c/p>\n\u003cp>[aside postid='pop_4982']Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a \u003ca href=\"http://www.ecorazzi.com/2013/05/14/spend-the-night-in-jared-letos-bed-and-eat-vegan-pancakes/\" target=\"_blank\" rel=\"noopener noreferrer\">night sleeping in his bed\u003c/a>). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans \u003ca href=\"http://www.thrashhits.com/2013/07/jared-letos-asking-fans-to-get-30-seconds-to-mars-tattoos/\" target=\"_blank\" rel=\"noopener noreferrer\">get tattoos\u003c/a> in their honor. (Take that, \u003ca href=\"https://en.wikipedia.org/wiki/NXIVM\" target=\"_blank\" rel=\"noopener noreferrer\">NXIVM\u003c/a>!)\u003c/p>\n\u003cp>https://www.instagram.com/p/B1M5ewKH_Rl/\u003c/p>\n\u003cp>Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming \u003ca href=\"https://events.thirtysecondstomars.com/camp-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Mars,\u003c/a> taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)\u003c/p>\n\u003cp>[aside postid='pop_112213']There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”\u003c/p>\n\u003cp>Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">up to $900 for meet and greets\u003c/a> in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge \u003ca href=\"https://www.papermag.com/should-musicians-charge-meet-greets-2633176822.html?rebelltitem=11#rebelltitem11\" target=\"_blank\" rel=\"noopener noreferrer\">$658\u003c/a>, \u003ca href=\"https://splinternews.com/i-spoke-with-fans-at-a-rihanna-meet-and-greet-and-r8-o-1793850411\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna was still only charging $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\n\u003cp>https://www.instagram.com/p/a0ubIzEx2i/\u003c/p>\n\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”\u003c/p>\n\u003cp>[aside postid='arts_13902056']In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his \u003cem>My So-Called Life\u003c/em> days and then getting them scrubbed from the internet by threatening legal action.\u003c/p>\n\u003cp>Music journalist \u003ca href=\"https://twitter.com/RAZIQRAUF\" target=\"_blank\" rel=\"noopener noreferrer\">Raziq Rauf\u003c/a> told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”\u003c/p>\n\u003cp>It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0Q1JDQHpub/\u003c/p>\n\u003cp>A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “\u003ca href=\"https://www.theguardian.com/music/2018/mar/26/thirty-seconds-to-mars-review-empty-euphoria-from-jared-letos-arena-rockers\" target=\"_blank\" rel=\"noopener noreferrer\">hollow and emotionally one-note\u003c/a>” (last year, \u003cem>Spin\u003c/em> described Leto’s lyrics as “\u003ca href=\"https://www.spin.com/2018/04/thirty-seconds-to-mars-america-review/\" target=\"_blank\" rel=\"noopener noreferrer\">meaningless word salad\u003c/a>“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1245,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705022202,
"excerpt": "Jared Leto has long referred to his fans as a cult. With recent retreats and Jesus-y outfits, he's taking that to its literal conclusion. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Jared Leto has long referred to his fans as a cult. With recent retreats and Jesus-y outfits, he's taking that to its literal conclusion. ",
"title": "Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did",
"datePublished": "2019-09-05T13:25:12-07:00",
"dateModified": "2024-01-11T17:16:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of August, \u003ca href=\"https://www.thirtysecondstomars.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thirty Seconds to Mars\u003c/a>—the rock band Jared Leto has fronted since 1998—returned from an island retreat they’d held in Croatia for hundreds of fans and proudly posted photos that had a distinctly \u003ca href=\"https://en.wikipedia.org/wiki/Peoples_Temple\" target=\"_blank\" rel=\"noopener noreferrer\">Peoples Temple\u003c/a> vibe. (Well, if everyone at the Peoples Temple had been white, anyway.)\u003c/p>\n\u003cp>The pictures showed Leto doing his best Jesus impersonation in flowing white robes, addressing fans who sat dotingly at his feet, and being followed around by hoards of young women. The band captioned the photos “Yes, this is a cult.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1161898672080089088"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The band has been using that tagline for years now, on \u003ca href=\"https://www.facebook.com/thirtysecondstomars/photos/a.79739842822/10156128997402823/?type=1&theater\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a>, in \u003ca href=\"https://www.pinterest.com/pin/105201341268447507/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">merch\u003c/a> and in \u003ca href=\"https://www.youtube.com/watch?v=mLqHDhF-O28\" target=\"_blank\" rel=\"noopener noreferrer\">music videos.\u003c/a> In 2013, Leto \u003ca href=\"https://www.nytimes.com/2013/06/09/magazine/jared-letos-worst-kept-secret.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The New York Times Magazine\u003c/em>\u003c/a> that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.\u003c/p>\n\u003cp>Thirty Seconds to Mars fans already collectively refer to themselves as “\u003ca href=\"https://www.facebook.com/thirtysecondstomarsechelonarmy/\" target=\"_blank\" rel=\"noopener noreferrer\">the Echelon\u003c/a>,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GoIngKBPp3I'\n title='//www.youtube.com/embed/GoIngKBPp3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Echelon also seems more than happy to don all-white uniforms and worship at Jared Leto’s feet.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1161959346730930176"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1162018786360332289"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1161909190287380480"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Like many cults, the Echelon espouses an us vs. them mentality via the hashtag #YouWouldntUnderstand, a refrain Leto repeats often. That idea has pushed supporters to ever more fervent degrees of devotion any time the band receives any degree of criticism. (Scientology followers have been employing a similar methodology for decades.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_4982",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a \u003ca href=\"http://www.ecorazzi.com/2013/05/14/spend-the-night-in-jared-letos-bed-and-eat-vegan-pancakes/\" target=\"_blank\" rel=\"noopener noreferrer\">night sleeping in his bed\u003c/a>). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans \u003ca href=\"http://www.thrashhits.com/2013/07/jared-letos-asking-fans-to-get-30-seconds-to-mars-tattoos/\" target=\"_blank\" rel=\"noopener noreferrer\">get tattoos\u003c/a> in their honor. (Take that, \u003ca href=\"https://en.wikipedia.org/wiki/NXIVM\" target=\"_blank\" rel=\"noopener noreferrer\">NXIVM\u003c/a>!)\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B1M5ewKH_Rl/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming \u003ca href=\"https://events.thirtysecondstomars.com/camp-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Mars,\u003c/a> taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_112213",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”\u003c/p>\n\u003cp>Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">up to $900 for meet and greets\u003c/a> in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge \u003ca href=\"https://www.papermag.com/should-musicians-charge-meet-greets-2633176822.html?rebelltitem=11#rebelltitem11\" target=\"_blank\" rel=\"noopener noreferrer\">$658\u003c/a>, \u003ca href=\"https://splinternews.com/i-spoke-with-fans-at-a-rihanna-meet-and-greet-and-r8-o-1793850411\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna was still only charging $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/a0ubIzEx2i/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902056",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his \u003cem>My So-Called Life\u003c/em> days and then getting them scrubbed from the internet by threatening legal action.\u003c/p>\n\u003cp>Music journalist \u003ca href=\"https://twitter.com/RAZIQRAUF\" target=\"_blank\" rel=\"noopener noreferrer\">Raziq Rauf\u003c/a> told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”\u003c/p>\n\u003cp>It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B0Q1JDQHpub/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “\u003ca href=\"https://www.theguardian.com/music/2018/mar/26/thirty-seconds-to-mars-review-empty-euphoria-from-jared-letos-arena-rockers\" target=\"_blank\" rel=\"noopener noreferrer\">hollow and emotionally one-note\u003c/a>” (last year, \u003cem>Spin\u003c/em> described Leto’s lyrics as “\u003ca href=\"https://www.spin.com/2018/04/thirty-seconds-to-mars-america-review/\" target=\"_blank\" rel=\"noopener noreferrer\">meaningless word salad\u003c/a>“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did",
"authors": [
"11242"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_2767",
"arts_8501"
],
"featImg": "arts_13865595",
"label": "arts"
},
"arts_13865533": {
"type": "posts",
"id": "arts_13865533",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865533",
"score": null,
"sort": [
1567641642000
]
},
"guestAuthors": [],
"slug": "daps-and-hugs-im-moving-out-of-oakland",
"title": "Daps and Hugs: I'm Moving Out of Oakland",
"publishDate": 1567641642,
"format": "standard",
"headTitle": "Daps and Hugs: I’m Moving Out of Oakland | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "How do you say goodbye to one of the greatest pieces of turf on this earth?",
"status": "publish",
"parent": 0,
"modified": 1726766271,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 31,
"wordCount": 1271
},
"headData": {
"title": "Daps and Hugs: I'm Moving Out of Oakland | KQED",
"description": "How do you say goodbye to one of the greatest pieces of turf on this earth?",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Daps and Hugs: I'm Moving Out of Oakland",
"datePublished": "2019-09-04T17:00:42-07:00",
"dateModified": "2024-09-19T10:17:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13865533/daps-and-hugs-im-moving-out-of-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\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\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865533/daps-and-hugs-im-moving-out-of-oakland",
"authors": [
"11491"
],
"categories": [
"arts_2303",
"arts_966",
"arts_69"
],
"tags": [
"arts_2767",
"arts_1118",
"arts_1088",
"arts_1143",
"arts_1551",
"arts_2356",
"arts_5779",
"arts_4506"
],
"featImg": "arts_13865599",
"label": "arts"
},
"arts_13865042": {
"type": "posts",
"id": "arts_13865042",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865042",
"score": null,
"sort": [
1567122865000
]
},
"guestAuthors": [],
"slug": "free-speech-tone-oliver-and-barts-proposed-ban-on-busking",
"title": "Free Speech, Tone Oliver, and BART’s Proposed Ban on Busking",
"publishDate": 1567122865,
"format": "standard",
"headTitle": "Free Speech, Tone Oliver, and BART’s Proposed Ban on Busking | KQED",
"labelTerm": {},
"content": "\u003cp>\u003ci>This post has been updated.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o let me get this straight: BART, which is a public transportation entity, and a government-owned and operated system, is looking to stop people from performing for spare change within the paid areas of its stations?\u003c/p>\n\u003cp>While BART board members pretty much control how all of this will play out in the coming weeks, with a vote on the matter scheduled for October, many of those who perform on BART aren’t sitting around quietly about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Pen.Commentary.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>On Friday, Aug. 30, at 5pm at the Fruitvale BART station in Oakland, MC Tone Oliver is set to host an event called “\u003ca href=\"https://www.instagram.com/p/B1o0tFEgeh6/\" target=\"_blank\" rel=\"noopener noreferrer\">I Ride With Buskers\u003c/a>,” protesting the proposed ordinance that would ban busking or panhandling in the paid areas of BART property.\u003c/p>\n\u003cp>Although the proposal, introduced by BART Board Director Debora Allen, is far from a vote, let alone implementation, the conversation around her suggestion has ruffled a few feathers.\u003c/p>\n\u003cp>Allen officially announced the proposal last week, not too long after an article published in the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Rapper-Tone-Oliver-makes-up-to-200-a-day-on-14340819.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> spotlighted Tone Oliver and others who perform on BART. In response to Allen’s announcement, people took to social media to voice their concerns. One user, whose tweet Allen retweeted, created \u003ca href=\"https://twitter.com/luckypalindrome/status/1163957604269191168?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a survey\u003c/a> of BART riders’ concerns, which reportedly showed that \u003ca href=\"https://twitter.com/luckypalindrome/status/1164029318189572097?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">less than three percent\u003c/a> of those surveyed listed panhandling as a top concern. Of the 100 people surveyed, the majority said cleanliness on BART was the most major concern.\u003c/p>\n\u003cp>That’s the court of public opinion. In the real courts, attorney Abre’ Conner of the ACLU \u003ca href=\"https://www.aclunc.org/docs/2019.08.21_Letter_to_BART_Board_of_Directors.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">published a letter\u003c/a> stating that her organization would sue BART if the proposed ordinance were to pass, arguing it would violate people’s first amendment rights.\u003c/p>\n\u003cp>https://www.instagram.com/p/B1iOIoZgEc_/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ee, here’s the thing: Tone Oliver \u003cem>really\u003c/em> uses his free speech. In the traditional form, he gets on his soapbox and expresses himself. He’s not the only one. Tone is a part of a nice-sized roster of BART performers, who time their acts accordingly in between stops, so that they give unsuspecting audiences a brief introduction and short show; enough razzle-dazzle to entice them to cough up a few coins. And then the performers hop off the train or move on to the next car; all of it lasting no more than five minutes.\u003c/p>\n\u003cp>I’ve seen a few performances, not just by Tone, but by plenty others on BART, and honestly I’m amazed.\u003c/p>\n\u003cp>I’m amazed by the dancers hitting flips on BART’s handrails, and impressed that the rappers can rhyme while subject to the submarine pressure pushing on their eardrums as the train dips under the Bay and through the tunnel.\u003c/p>\n\u003cp>I’m also taken aback that these artists are playing the game of “America” by the rules, and getting into trouble for it. They’re literally practicing their first amendment rights, on a government-owned and operated public transportation system. Why is this even an issue?\u003c/p>\n\u003cp>BART is already dealing with real problems of overcrowding, fare evasion, maintenance and safety, both in and around its stations. Why add this to the list?\u003c/p>\n\u003cp>If anything, BART should be encouraging the arts. It’s what makes the Bay the Bay.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13856748/bart-turf-dancers-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">written before\u003c/a> about the culture on BART being a barometer of the Bay. Even as recently as this week, NBA star and East Oakland native Damian Lillard and talented East Oakland lyricist Brookfield Duece put out \u003ca href=\"https://www.youtube.com/watch?v=mP96O3iAQDM\" target=\"_blank\" rel=\"noopener noreferrer\">a video\u003c/a> spotlighting the culture of their neighborhood of Brookfield—including shots of people dancing on BART.\u003c/p>\n\u003cp>It’s a good thing.\u003c/p>\n\u003cp>Plus, it’s hard as hell to get up and speak, perform—hell, even exist—in front of other humans. Why condemn someone for defying the law of social gravity, and conjuring enough moxie to speak publicly?\u003c/p>\n\u003cp>[aside postID='arts_13923420']\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> like silence too, don’t get me wrong. I’m more of the type to be on BART and try to not make eye contact. Acting like the memes in my group chat are scientific studies demanding all of my attention. I see people on BART who I’ve interacted with on social media, and give them a head nod, and return to my phone, book or intense staring contest with the back of the seat in front of me.\u003c/p>\n\u003cp>In other words, I get it: Folks pay for a train ride home, not \u003cem>Showtime At The Apollo\u003c/em>. Sometimes it is a bit annoying to have unsolicited entertainment after a long day at your job. But you’ve got to understand: these performers are at their job too.\u003c/p>\n\u003cp>These are folks who’ve invested time into their craft. Folks who’ve gotten over their fear of public speaking. And folks who are asking for money, but more than that, they’re asking for an opportunity to be seen.\u003c/p>\n\u003cp>It’s unfortunate that all people looking for funds on BART cars and platforms get thrown into the same group. I mean, you’ve got to see the difference between the person playing Bach on a keyboard by the ticket machine and the person sloppy drunk and falling on you as they ask for spare change.\u003c/p>\n\u003cp>No knock against my intoxicated friend, but health-wise, I’ve got to ask if my contribution is going toward something that’s conducive to that individual’s health—let alone the impact it’ll have on the larger society. And yes, there are some people who get aggressive about asking for money. There should be something done so that people’s safety isn’t compromised in the midst of people’s public enterprise.\u003c/p>\n\u003cp>But if this is simply about being annoyed, how painful is it to have your podcast interrupted because you have to acknowledge economic disparity? You’ve paid for a train ride on public transportation. This is what’s going on “in the public.” The way I see it, this boils down to a simple question: in taking away other people’s freedom of speech, what are you gaining?\u003c/p>\n\u003cp>I called BART Director Allen, but as of press time did not get a response. When I called Tone Oliver, he said if the proposition passes, it would be “a huge step toward making the Bay Area more comfortable for people of certain demographics—you know: people with certain amounts of money.”\u003c/p>\n\u003cp>Over the phone, Oliver told me that the only reason the proposal exists is because of a handful of complaints. “But there are people who enjoy the shows, they just aren’t saying much,” he said. “So it’s important we get these other voices heard.”\u003c/p>\n\u003cp>With that in mind, on Friday, he plans to have performances by folks like rapper \u003ca href=\"https://www.instagram.com/younghumblebillionaire/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Money a.k.a. the Young Humble Billionaire\u003c/a>, a guitarist by the name of J Bird and a saxophonist, KJ Focus. And ahead of the event, Tone Oliver put out a new song, “\u003ca href=\"https://soundcloud.com/toneoliver/tone-oliver-alignment-prod-johnnyhyde/s-nmJA6\" target=\"_blank\" rel=\"noopener noreferrer\">Alignment\u003c/a>,” in which he shares a few bars about his recent profile in the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Friday’s event will happen not too far from a mural dedicated to the life of Oscar Grant, unveiled earlier this year—a mural that BART’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Social-media-post-by-BART-director-prompts-outcry-13448171.php\">Director Allen once questioned in a public Facebook post\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Correction: This post has been updated to more accurately describe BART Director Debora Allen’s questioning of the Oscar Grant mural at Fruitvale Station. An earlier version stated Director Allen opposed the mural.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "If anything, BART should be encouraging the arts. It’s what makes the Bay the Bay.",
"status": "publish",
"parent": 0,
"modified": 1726766287,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 1308
},
"headData": {
"title": "Free Speech, Tone Oliver, and BART’s Proposed Ban on Busking | KQED",
"description": "If anything, BART should be encouraging the arts. It’s what makes the Bay the Bay.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Free Speech, Tone Oliver, and BART’s Proposed Ban on Busking",
"datePublished": "2019-08-29T16:54:25-07:00",
"dateModified": "2024-09-19T10:18:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Commentary",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This post has been updated.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o let me get this straight: BART, which is a public transportation entity, and a government-owned and operated system, is looking to stop people from performing for spare change within the paid areas of its stations?\u003c/p>\n\u003cp>While BART board members pretty much control how all of this will play out in the coming weeks, with a vote on the matter scheduled for October, many of those who perform on BART aren’t sitting around quietly about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Pen.Commentary.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>On Friday, Aug. 30, at 5pm at the Fruitvale BART station in Oakland, MC Tone Oliver is set to host an event called “\u003ca href=\"https://www.instagram.com/p/B1o0tFEgeh6/\" target=\"_blank\" rel=\"noopener noreferrer\">I Ride With Buskers\u003c/a>,” protesting the proposed ordinance that would ban busking or panhandling in the paid areas of BART property.\u003c/p>\n\u003cp>Although the proposal, introduced by BART Board Director Debora Allen, is far from a vote, let alone implementation, the conversation around her suggestion has ruffled a few feathers.\u003c/p>\n\u003cp>Allen officially announced the proposal last week, not too long after an article published in the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Rapper-Tone-Oliver-makes-up-to-200-a-day-on-14340819.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> spotlighted Tone Oliver and others who perform on BART. In response to Allen’s announcement, people took to social media to voice their concerns. One user, whose tweet Allen retweeted, created \u003ca href=\"https://twitter.com/luckypalindrome/status/1163957604269191168?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a survey\u003c/a> of BART riders’ concerns, which reportedly showed that \u003ca href=\"https://twitter.com/luckypalindrome/status/1164029318189572097?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">less than three percent\u003c/a> of those surveyed listed panhandling as a top concern. Of the 100 people surveyed, the majority said cleanliness on BART was the most major concern.\u003c/p>\n\u003cp>That’s the court of public opinion. In the real courts, attorney Abre’ Conner of the ACLU \u003ca href=\"https://www.aclunc.org/docs/2019.08.21_Letter_to_BART_Board_of_Directors.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">published a letter\u003c/a> stating that her organization would sue BART if the proposed ordinance were to pass, arguing it would violate people’s first amendment rights.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B1iOIoZgEc_/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ee, here’s the thing: Tone Oliver \u003cem>really\u003c/em> uses his free speech. In the traditional form, he gets on his soapbox and expresses himself. He’s not the only one. Tone is a part of a nice-sized roster of BART performers, who time their acts accordingly in between stops, so that they give unsuspecting audiences a brief introduction and short show; enough razzle-dazzle to entice them to cough up a few coins. And then the performers hop off the train or move on to the next car; all of it lasting no more than five minutes.\u003c/p>\n\u003cp>I’ve seen a few performances, not just by Tone, but by plenty others on BART, and honestly I’m amazed.\u003c/p>\n\u003cp>I’m amazed by the dancers hitting flips on BART’s handrails, and impressed that the rappers can rhyme while subject to the submarine pressure pushing on their eardrums as the train dips under the Bay and through the tunnel.\u003c/p>\n\u003cp>I’m also taken aback that these artists are playing the game of “America” by the rules, and getting into trouble for it. They’re literally practicing their first amendment rights, on a government-owned and operated public transportation system. Why is this even an issue?\u003c/p>\n\u003cp>BART is already dealing with real problems of overcrowding, fare evasion, maintenance and safety, both in and around its stations. Why add this to the list?\u003c/p>\n\u003cp>If anything, BART should be encouraging the arts. It’s what makes the Bay the Bay.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13856748/bart-turf-dancers-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">written before\u003c/a> about the culture on BART being a barometer of the Bay. Even as recently as this week, NBA star and East Oakland native Damian Lillard and talented East Oakland lyricist Brookfield Duece put out \u003ca href=\"https://www.youtube.com/watch?v=mP96O3iAQDM\" target=\"_blank\" rel=\"noopener noreferrer\">a video\u003c/a> spotlighting the culture of their neighborhood of Brookfield—including shots of people dancing on BART.\u003c/p>\n\u003cp>It’s a good thing.\u003c/p>\n\u003cp>Plus, it’s hard as hell to get up and speak, perform—hell, even exist—in front of other humans. Why condemn someone for defying the law of social gravity, and conjuring enough moxie to speak publicly?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13923420",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> like silence too, don’t get me wrong. I’m more of the type to be on BART and try to not make eye contact. Acting like the memes in my group chat are scientific studies demanding all of my attention. I see people on BART who I’ve interacted with on social media, and give them a head nod, and return to my phone, book or intense staring contest with the back of the seat in front of me.\u003c/p>\n\u003cp>In other words, I get it: Folks pay for a train ride home, not \u003cem>Showtime At The Apollo\u003c/em>. Sometimes it is a bit annoying to have unsolicited entertainment after a long day at your job. But you’ve got to understand: these performers are at their job too.\u003c/p>\n\u003cp>These are folks who’ve invested time into their craft. Folks who’ve gotten over their fear of public speaking. And folks who are asking for money, but more than that, they’re asking for an opportunity to be seen.\u003c/p>\n\u003cp>It’s unfortunate that all people looking for funds on BART cars and platforms get thrown into the same group. I mean, you’ve got to see the difference between the person playing Bach on a keyboard by the ticket machine and the person sloppy drunk and falling on you as they ask for spare change.\u003c/p>\n\u003cp>No knock against my intoxicated friend, but health-wise, I’ve got to ask if my contribution is going toward something that’s conducive to that individual’s health—let alone the impact it’ll have on the larger society. And yes, there are some people who get aggressive about asking for money. There should be something done so that people’s safety isn’t compromised in the midst of people’s public enterprise.\u003c/p>\n\u003cp>But if this is simply about being annoyed, how painful is it to have your podcast interrupted because you have to acknowledge economic disparity? You’ve paid for a train ride on public transportation. This is what’s going on “in the public.” The way I see it, this boils down to a simple question: in taking away other people’s freedom of speech, what are you gaining?\u003c/p>\n\u003cp>I called BART Director Allen, but as of press time did not get a response. When I called Tone Oliver, he said if the proposition passes, it would be “a huge step toward making the Bay Area more comfortable for people of certain demographics—you know: people with certain amounts of money.”\u003c/p>\n\u003cp>Over the phone, Oliver told me that the only reason the proposal exists is because of a handful of complaints. “But there are people who enjoy the shows, they just aren’t saying much,” he said. “So it’s important we get these other voices heard.”\u003c/p>\n\u003cp>With that in mind, on Friday, he plans to have performances by folks like rapper \u003ca href=\"https://www.instagram.com/younghumblebillionaire/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Money a.k.a. the Young Humble Billionaire\u003c/a>, a guitarist by the name of J Bird and a saxophonist, KJ Focus. And ahead of the event, Tone Oliver put out a new song, “\u003ca href=\"https://soundcloud.com/toneoliver/tone-oliver-alignment-prod-johnnyhyde/s-nmJA6\" target=\"_blank\" rel=\"noopener noreferrer\">Alignment\u003c/a>,” in which he shares a few bars about his recent profile in the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Friday’s event will happen not too far from a mural dedicated to the life of Oscar Grant, unveiled earlier this year—a mural that BART’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Social-media-post-by-BART-director-prompts-outcry-13448171.php\">Director Allen once questioned in a public Facebook post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: This post has been updated to more accurately describe BART Director Debora Allen’s questioning of the Oscar Grant mural at Fruitvale Station. An earlier version stated Director Allen opposed the mural.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking",
"authors": [
"11491"
],
"categories": [
"arts_2303"
],
"tags": [
"arts_5814",
"arts_1331",
"arts_7573",
"arts_2733",
"arts_2767",
"arts_1118"
],
"featImg": "arts_13865044",
"label": "source_arts_13865042"
},
"arts_13865075": {
"type": "posts",
"id": "arts_13865075",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865075",
"score": null,
"sort": [
1567027784000
]
},
"guestAuthors": [],
"slug": "illustrating-the-opposition-to-trumps-public-charge-rule",
"title": "Illustrating the Opposition to Trump's 'Public Charge' Rule",
"publishDate": 1567027784,
"format": "standard",
"headTitle": "Illustrating the Opposition to Trump’s ‘Public Charge’ Rule | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>On Tuesday, Aug. 27, a rally filled Oakland’s Chinatown neighborhood to protest the Trump administration’s ‘\u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">public charge rule\u003c/a>,’ set to go into effect Oct. 15. And Thi Bui and a group of illustrators from the group Art Hack were there to document it.\u003c/p>\n\u003cp>[aside postID='arts_13851435' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/02/ThiBui.Strike.MAIN_.rev_-1020x615.jpg']\u003c/p>\n\u003cp>Under the rule, any immigrant receiving public benefits such as Medicaid, housing assistance or food stamps for over 12 months within a 36-month period would be considered a “public charge,” and thus would be \u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">less eligible to receive a green card\u003c/a>.\u003c/p>\n\u003cp>It’s a personal issue for Bui, the Caldecott Award-winning illustrator and the creator of the graphic memoir \u003cem>The Best We Could Do\u003c/em>, a \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener noreferrer\">memoir about her family leaving Vietnam\u003c/a> and coming to America in the late 1970s.\u003c/p>\n\u003cp>“My family, like many, used public benefits when we first arrived in the United States,” Bui says. “It’s hard to imagine how we would have survived, much less gone on to thrive and help others in our careers, without that crucial help in the beginning.”\u003c/p>\n\u003cp>In Oakland on Tuesday, as attendees protested the effects the rule would have on working class immigrant families, the illustrators and cartoonists of Art Hack chronicled the day: real people, in their own words, in illustrations and comics.\u003c/p>\n\u003cp>See their drawings below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg\" alt=\"\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://mallorymoser.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallory Moser\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://aisforactivist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Innosanto Nagara\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg\" alt=\"\" width=\"1200\" height=\"1601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-899x1200.jpg 899w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://www.thibui.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thi Bui\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://meganleppla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Leppla\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg\" alt=\"\" width=\"1200\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-800x1039.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-924x1200.jpg 924w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://gchow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gerry Chow\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13865215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-800x1148.jpg\" alt=\"\" width=\"800\" height=\"1148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-768x1102.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://francoisluong.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">François Luong\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "See drawings and comics of people protesting the public charge rule, in their own words, courtesy the Bay Area group Art Hack.",
"status": "publish",
"parent": 0,
"modified": 1726766304,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 275
},
"headData": {
"title": "Illustrating the Opposition to Trump's 'Public Charge' Rule | KQED",
"description": "See drawings and comics of people protesting the public charge rule, in their own words, courtesy the Bay Area group Art Hack.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Illustrating the Opposition to Trump's 'Public Charge' Rule",
"datePublished": "2019-08-28T14:29:44-07:00",
"dateModified": "2024-09-19T10:18:24-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13865075/illustrating-the-opposition-to-trumps-public-charge-rule",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Aug. 27, a rally filled Oakland’s Chinatown neighborhood to protest the Trump administration’s ‘\u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">public charge rule\u003c/a>,’ set to go into effect Oct. 15. And Thi Bui and a group of illustrators from the group Art Hack were there to document it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13851435",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/02/ThiBui.Strike.MAIN_.rev_-1020x615.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the rule, any immigrant receiving public benefits such as Medicaid, housing assistance or food stamps for over 12 months within a 36-month period would be considered a “public charge,” and thus would be \u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">less eligible to receive a green card\u003c/a>.\u003c/p>\n\u003cp>It’s a personal issue for Bui, the Caldecott Award-winning illustrator and the creator of the graphic memoir \u003cem>The Best We Could Do\u003c/em>, a \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener noreferrer\">memoir about her family leaving Vietnam\u003c/a> and coming to America in the late 1970s.\u003c/p>\n\u003cp>“My family, like many, used public benefits when we first arrived in the United States,” Bui says. “It’s hard to imagine how we would have survived, much less gone on to thrive and help others in our careers, without that crucial help in the beginning.”\u003c/p>\n\u003cp>In Oakland on Tuesday, as attendees protested the effects the rule would have on working class immigrant families, the illustrators and cartoonists of Art Hack chronicled the day: real people, in their own words, in illustrations and comics.\u003c/p>\n\u003cp>See their drawings below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg\" alt=\"\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://mallorymoser.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallory Moser\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://aisforactivist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Innosanto Nagara\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg\" alt=\"\" width=\"1200\" height=\"1601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-899x1200.jpg 899w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://www.thibui.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thi Bui\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://meganleppla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Leppla\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg\" alt=\"\" width=\"1200\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-800x1039.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-924x1200.jpg 924w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://gchow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gerry Chow\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13865215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-800x1148.jpg\" alt=\"\" width=\"800\" height=\"1148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-768x1102.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://francoisluong.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">François Luong\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865075/illustrating-the-opposition-to-trumps-public-charge-rule",
"authors": [
"185"
],
"categories": [
"arts_2303",
"arts_235",
"arts_70"
],
"tags": [
"arts_2654",
"arts_1942",
"arts_2767",
"arts_1753",
"arts_1143",
"arts_1756"
],
"featImg": "arts_13865187",
"label": "arts"
},
"arts_13865026": {
"type": "posts",
"id": "arts_13865026",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865026",
"score": null,
"sort": [
1566933336000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1566933336,
"format": "standard",
"title": "Both Party and Protest, 'Alright' is the Sound of Black Life's Duality",
"headTitle": "Both Party and Protest, ‘Alright’ is the Sound of Black Life’s Duality | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>It was a coincidence that the police were there.\u003c/p>\n\u003cp>In the summer of 2015, hundreds of black activists and organizers from across the country gathered on the campus of Cleveland State University for a three-day conference called the Movement for Black Lives. This was an opportunity to get together and share best practices and plan future actions, and was the first time many of them were meeting face to face.\u003c/p>\n\u003cp>It was a heavy moment. News was spreading about Sandra Bland—a black woman who was found dead in a Texas jail cell after being arrested at a traffic stop, and just the latest in a long list of names that had become synonymous with police violence against black people. But there were moments of joy, too. During a break, someone put on the song “\u003ca href=\"https://www.youtube.com/watch?v=Z-48u_uWMHY\">Alright\u003c/a>” by \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, and a whole auditorium of people broke loose.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=Z-48u_uWMHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a celebratory moment of black love,” says Waltrina Midleton. She’s a youth reverend, then based in Cleveland, who helped set up the event.\u003c/p>\n\u003cp>The conference ended on a Sunday afternoon. At the same time people were saying their goodbyes with hugs and kisses, a bus was coming across campus. Inside, a police officer was detaining a black 14-year-old suspected of drinking alcohol. \u003ca href=\"https://www.youtube.com/watch?v=PivXg7xp2F0\">In surveillance and body cam tape\u003c/a> released by the Greater Cleveland Authority Regional Transit Police, you can see the cop take the kid off the bus and handcuff him inside a sheltered bus stop.\u003c/p>\n\u003cp>Middleton could make out that something was going on. “I’m standing on the steps,” she says, “and all of a sudden, the crowd went from of folks saying goodbye to, ‘Oh, something’s happening.’ ” It had been less than a year since police shot and killed Tamir Rice, a 12-year-old who was playing with an Airsoft gun outside a rec center, in the very same city. People started gathering at the scene, holding up their phones to record.\u003c/p>\n\u003cp>According to the incident report, officers asked the 14-year-old for his mother’s name and address, which he gave to them. One of the bystanders also asked for this information. From the report:\u003c/p>\n\u003cblockquote>\u003cp>“That unknown female was informed by us that we will handle calling a parent or guardian. [REDACTED] blurted out to her his mother’s phone number. Ptl. Horton and Ptl. Dorko were blocking the crowd from entering the shelter and the ability for them to have any communication with [REDACTED] (for his safety).”\u003c/p>\u003c/blockquote>\n\u003cp>“Our ultimate goal was to make sure that this young child was not criminalized,” Middleton says. “That this child left the situation alive, and also that an adult who was accountable for that child was present.”\u003c/p>\n\u003cp>The crowd grew, more police showed up, and bystanders became protesters. Some of them linked arms around the police cars. An officer pepper sprayed them. The scene continued to intensify until, finally, the teen’s mother arrived. The police escorted mom and son to an ambulance, and then let them go.\u003c/p>\n\u003cp>For a story involving a young black male, escalating tensions, police in riot gear and people getting pepper sprayed, this is a happy ending. Some of the protesters begin to shout a familiar refrain: “\u003ca href=\"https://www.youtube.com/watch?v=VUC_DOhfzwQ\">We gon’ be alright\u003c/a>.”\u003c/p>\n\u003chr>\n\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> was released in the spring of 2015. “Alright” was the fourth single off the record. It’s hard to say exactly when the song was first used at a protest, but the story in Cleveland touched on many of the issues of the moment concerning police relations with black people. At \u003ca href=\"https://twitter.com/TheHilltopHU/status/652838787492519936\">similar\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=c2hKKT7JWcA&t=2s\">demonstrations\u003c/a>, the chanted hook quickly became a fixture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=4lPD5PtqMiE&t=1554s\">In a 2016 interview\u003c/a> with super-producer Rick Rubin hosted by \u003cem>GQ\u003c/em>, Lamar said he sat on the beat—dreamed up by another super-producer, \u003ca href=\"https://www.npr.org/artists/122029835/pharrell-williams\">Pharrell Williams\u003c/a>—for six months before figuring out what he wanted to say. “The beat sounds fun,” he said. “But it’s something else inside the chords that Pharrell put down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1554&v=4lPD5PtqMiE\u003c/p>\n\u003cp>The \u003cem>dah dah dah\u003c/em>s that make up those chords are Williams’ own disembodied voice, running constantly through the song. They’re haunting, in a way. “Maybe it’s the ancestors who never received the justice they deserved,” says Miles Marshall Lewis.\u003c/p>\n\u003cp>The author of the upcoming book \u003cem>Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar\u003c/em>, Lewis interviewed Lamar after the release of \u003cem>To Pimp a Butterfly\u003c/em> and learned the artist was inspired to write “Alright” by a trip to South Africa—specifically the cell on Robben Island where Nelson Mandela was imprisoned. Similarly, Lamar told NPR in a 2015 interview that he was thinking about the history of chattel slavery in America.\u003c/p>\n\u003cp>“Four hundred years ago, as slaves, we prayed and sung joyful songs to keep our heads level-headed with what was going on,” Lamar said. “Four hundred years later, we still need that music to heal. And I think that ‘Alright’ is definitely one of those records that makes you feel good no matter what the times are.”\u003c/p>\n\u003cp>In the song’s prechorus, Lamar lays this feeling out succinctly. He begins in the past:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Wouldn’t you know, we been hurt, been down before\u003cbr>\nWhen our pride was low\u003cbr>\nLooking at the world like “Where do we go?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The emotional payoff of the chorus isn’t complete without this lead-in, acknowledging the long history of black oppression. Then he brings us back to the present, where things are different, but not different enough:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>And we hate po-po\u003cbr>\nWanna kill us dead in the streets for sure\u003cbr>\nI’m at the preacher’s door\u003cbr>\nMy knees getting weak, and my gun might blow,\u003cbr>\nBut we gon’ be alright\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>When the narrator shows up at a preacher’s door, reeling in the face of police violence and oppression, he’s holding a gun. Lewis says the moment reflects the old duality of the civil rights struggle: “He might trade in the Martin hat for the Malcolm hat, and have to defend himself.”\u003c/p>\n\u003cp>But it’s up to the listener to decide which way the gun is pointed: at the police, at the preacher, at someone else, or back at the artist himself.\u003c/p>\n\u003chr>\n\u003cp>On June 17, 2015, a white nationalist shot and killed nine black people inside Emanuel AME Church in Charleston, S. C.—including Reverend DePayne Middleton Doctor, Waltrina Middleton’s cousin. In the aftermath, Middleton said she wanted to leave her work, her ministry, her activism, shut the door to the world and people around her. “It’s so easy to say ‘my cousin was murdered, I’m done. Eff all this. This isn’t going to change anything.’ And walk away,” she said.\u003c/p>\n\u003cp>This sentiment is reflected in “Alright,” too — particularly the contrast of the bright, optimistic, communal chorus against the dark, self-critical and solitary verses: “I can see the evil, I can tell it, I know it’s illegal / I don’t think about it, I deposit every other zero.” There’s a powerlessness here, as even Lamar, who at this point in his career was positioned as \u003cem>the\u003c/em> rapper, succumbs to apathy and greed.\u003c/p>\n\u003cp>“He’s not denying that we’re in a protracted state of trauma,” Middleton says. “He’s saying, ‘I know that we may have all of these things around us that will allow us to escape, but the movement is still there, the fight is still there.’ And I think it’s important to recognize that—because sometimes we don’t think about the psychological impact and trauma of fighting for your life every single day.”\u003c/p>\n\u003cp>“After the death of Freddie Gray, a lot of us was just stuck and lost,” says Devin Allen. He’s a photographer from Baltimore, who documented many of the protests, prayers, riots and marches that took place in 2015 when Freddie Gray, a 25-year-old black man, died after injuries he sustained while being transported by police.\u003c/p>\n\u003cp>When we spoke, Allen talked about the curfew that followed, the occupation, the black people shot by police who, for better or worse, haven’t become household names. He said that protesters in Baltimore weren’t singing “Alright” in the streets like in other cities. Instead, the song had a more private presence: something you listened to in the car by yourself, at home with your family, at the club with your friends.\u003c/p>\n\u003cp>Allen’s photos these days deal with softer subject matter: Friends, neighbors, random kids living their lives in Baltimore. It’s cautiously optimistic work that he says is inspired by Lamar. And he sometimes posts videos of his daughter dancing along to “Alright,” or mugging for the camera, rapping along.\u003c/p>\n\u003cp>“One day we will be all right,” he says. “Gotta keep fighting for that. The moment I don’t believe it’s gonna be all right, what am I fighting for?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You can read the phrase “We gon’ be alright” as indicative of some distant future, where white supremacy and oppression are no longer a major concern — \u003cem>one day\u003c/em>, as Allen puts it. But maybe it can also mean something simpler, sooner. Something as small as coming home to your family.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Both+Party+And+Protest%2C+%27Alright%27+Is+The+Sound+Of+Black+Life%27s+Duality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1704,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1705022249,
"excerpt": "The Kendrick Lamar song turned protest chant against police violence identifies a daily balancing act: There is hope, and there is despair. There's the ideal world, and there's the real one.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Kendrick Lamar song turned protest chant against police violence identifies a daily balancing act: There is hope, and there is despair. There's the ideal world, and there's the real one.",
"title": "Both Party and Protest, 'Alright' is the Sound of Black Life's Duality | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Both Party and Protest, 'Alright' is the Sound of Black Life's Duality",
"datePublished": "2019-08-27T12:15:36-07:00",
"dateModified": "2024-01-11T17:17:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "both-party-and-protest-alright-is-the-sound-of-black-lifes-duality",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753511135&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 26 Aug 2019 05:06:00 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 26 Aug 2019 21:34:01 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/26/753511135/kendrick-lamar-alright-american-anthem-party-protest?ft=nprml&f=753511135",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/08/20190826_me_both_party_and_protest_alright_is_the_sound_of_black_lifes_duality.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=439&p=3&story=753511135&ft=nprml&f=753511135",
"nprImageAgency": "Getty Images for BET",
"nprAudioM3u": "http://api.npr.org/m3u/1754266286-7dcf19.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=439&p=3&story=753511135&ft=nprml&f=753511135",
"nprStoryId": "753511135",
"nprByline": "Andrew Limbong",
"sticky": false,
"audioTrackLength": 439,
"nprImageCredit": "Christopher Polk",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 26 Aug 2019 21:34:00 -0400",
"path": "/arts/13865026/both-party-and-protest-alright-is-the-sound-of-black-lifes-duality",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/08/20190826_me_both_party_and_protest_alright_is_the_sound_of_black_lifes_duality.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=439&p=3&story=753511135&ft=nprml&f=753511135",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>It was a coincidence that the police were there.\u003c/p>\n\u003cp>In the summer of 2015, hundreds of black activists and organizers from across the country gathered on the campus of Cleveland State University for a three-day conference called the Movement for Black Lives. This was an opportunity to get together and share best practices and plan future actions, and was the first time many of them were meeting face to face.\u003c/p>\n\u003cp>It was a heavy moment. News was spreading about Sandra Bland—a black woman who was found dead in a Texas jail cell after being arrested at a traffic stop, and just the latest in a long list of names that had become synonymous with police violence against black people. But there were moments of joy, too. During a break, someone put on the song “\u003ca href=\"https://www.youtube.com/watch?v=Z-48u_uWMHY\">Alright\u003c/a>” by \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, and a whole auditorium of people broke loose.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Z-48u_uWMHY'\n title='//www.youtube.com/embed/Z-48u_uWMHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was a celebratory moment of black love,” says Waltrina Midleton. She’s a youth reverend, then based in Cleveland, who helped set up the event.\u003c/p>\n\u003cp>The conference ended on a Sunday afternoon. At the same time people were saying their goodbyes with hugs and kisses, a bus was coming across campus. Inside, a police officer was detaining a black 14-year-old suspected of drinking alcohol. \u003ca href=\"https://www.youtube.com/watch?v=PivXg7xp2F0\">In surveillance and body cam tape\u003c/a> released by the Greater Cleveland Authority Regional Transit Police, you can see the cop take the kid off the bus and handcuff him inside a sheltered bus stop.\u003c/p>\n\u003cp>Middleton could make out that something was going on. “I’m standing on the steps,” she says, “and all of a sudden, the crowd went from of folks saying goodbye to, ‘Oh, something’s happening.’ ” It had been less than a year since police shot and killed Tamir Rice, a 12-year-old who was playing with an Airsoft gun outside a rec center, in the very same city. People started gathering at the scene, holding up their phones to record.\u003c/p>\n\u003cp>According to the incident report, officers asked the 14-year-old for his mother’s name and address, which he gave to them. One of the bystanders also asked for this information. From the report:\u003c/p>\n\u003cblockquote>\u003cp>“That unknown female was informed by us that we will handle calling a parent or guardian. [REDACTED] blurted out to her his mother’s phone number. Ptl. Horton and Ptl. Dorko were blocking the crowd from entering the shelter and the ability for them to have any communication with [REDACTED] (for his safety).”\u003c/p>\u003c/blockquote>\n\u003cp>“Our ultimate goal was to make sure that this young child was not criminalized,” Middleton says. “That this child left the situation alive, and also that an adult who was accountable for that child was present.”\u003c/p>\n\u003cp>The crowd grew, more police showed up, and bystanders became protesters. Some of them linked arms around the police cars. An officer pepper sprayed them. The scene continued to intensify until, finally, the teen’s mother arrived. The police escorted mom and son to an ambulance, and then let them go.\u003c/p>\n\u003cp>For a story involving a young black male, escalating tensions, police in riot gear and people getting pepper sprayed, this is a happy ending. Some of the protesters begin to shout a familiar refrain: “\u003ca href=\"https://www.youtube.com/watch?v=VUC_DOhfzwQ\">We gon’ be alright\u003c/a>.”\u003c/p>\n\u003chr>\n\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> was released in the spring of 2015. “Alright” was the fourth single off the record. It’s hard to say exactly when the song was first used at a protest, but the story in Cleveland touched on many of the issues of the moment concerning police relations with black people. At \u003ca href=\"https://twitter.com/TheHilltopHU/status/652838787492519936\">similar\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=c2hKKT7JWcA&t=2s\">demonstrations\u003c/a>, the chanted hook quickly became a fixture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=4lPD5PtqMiE&t=1554s\">In a 2016 interview\u003c/a> with super-producer Rick Rubin hosted by \u003cem>GQ\u003c/em>, Lamar said he sat on the beat—dreamed up by another super-producer, \u003ca href=\"https://www.npr.org/artists/122029835/pharrell-williams\">Pharrell Williams\u003c/a>—for six months before figuring out what he wanted to say. “The beat sounds fun,” he said. “But it’s something else inside the chords that Pharrell put down.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4lPD5PtqMiE'\n title='//www.youtube.com/embed/4lPD5PtqMiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>dah dah dah\u003c/em>s that make up those chords are Williams’ own disembodied voice, running constantly through the song. They’re haunting, in a way. “Maybe it’s the ancestors who never received the justice they deserved,” says Miles Marshall Lewis.\u003c/p>\n\u003cp>The author of the upcoming book \u003cem>Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar\u003c/em>, Lewis interviewed Lamar after the release of \u003cem>To Pimp a Butterfly\u003c/em> and learned the artist was inspired to write “Alright” by a trip to South Africa—specifically the cell on Robben Island where Nelson Mandela was imprisoned. Similarly, Lamar told NPR in a 2015 interview that he was thinking about the history of chattel slavery in America.\u003c/p>\n\u003cp>“Four hundred years ago, as slaves, we prayed and sung joyful songs to keep our heads level-headed with what was going on,” Lamar said. “Four hundred years later, we still need that music to heal. And I think that ‘Alright’ is definitely one of those records that makes you feel good no matter what the times are.”\u003c/p>\n\u003cp>In the song’s prechorus, Lamar lays this feeling out succinctly. He begins in the past:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Wouldn’t you know, we been hurt, been down before\u003cbr>\nWhen our pride was low\u003cbr>\nLooking at the world like “Where do we go?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The emotional payoff of the chorus isn’t complete without this lead-in, acknowledging the long history of black oppression. Then he brings us back to the present, where things are different, but not different enough:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>And we hate po-po\u003cbr>\nWanna kill us dead in the streets for sure\u003cbr>\nI’m at the preacher’s door\u003cbr>\nMy knees getting weak, and my gun might blow,\u003cbr>\nBut we gon’ be alright\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>When the narrator shows up at a preacher’s door, reeling in the face of police violence and oppression, he’s holding a gun. Lewis says the moment reflects the old duality of the civil rights struggle: “He might trade in the Martin hat for the Malcolm hat, and have to defend himself.”\u003c/p>\n\u003cp>But it’s up to the listener to decide which way the gun is pointed: at the police, at the preacher, at someone else, or back at the artist himself.\u003c/p>\n\u003chr>\n\u003cp>On June 17, 2015, a white nationalist shot and killed nine black people inside Emanuel AME Church in Charleston, S. C.—including Reverend DePayne Middleton Doctor, Waltrina Middleton’s cousin. In the aftermath, Middleton said she wanted to leave her work, her ministry, her activism, shut the door to the world and people around her. “It’s so easy to say ‘my cousin was murdered, I’m done. Eff all this. This isn’t going to change anything.’ And walk away,” she said.\u003c/p>\n\u003cp>This sentiment is reflected in “Alright,” too — particularly the contrast of the bright, optimistic, communal chorus against the dark, self-critical and solitary verses: “I can see the evil, I can tell it, I know it’s illegal / I don’t think about it, I deposit every other zero.” There’s a powerlessness here, as even Lamar, who at this point in his career was positioned as \u003cem>the\u003c/em> rapper, succumbs to apathy and greed.\u003c/p>\n\u003cp>“He’s not denying that we’re in a protracted state of trauma,” Middleton says. “He’s saying, ‘I know that we may have all of these things around us that will allow us to escape, but the movement is still there, the fight is still there.’ And I think it’s important to recognize that—because sometimes we don’t think about the psychological impact and trauma of fighting for your life every single day.”\u003c/p>\n\u003cp>“After the death of Freddie Gray, a lot of us was just stuck and lost,” says Devin Allen. He’s a photographer from Baltimore, who documented many of the protests, prayers, riots and marches that took place in 2015 when Freddie Gray, a 25-year-old black man, died after injuries he sustained while being transported by police.\u003c/p>\n\u003cp>When we spoke, Allen talked about the curfew that followed, the occupation, the black people shot by police who, for better or worse, haven’t become household names. He said that protesters in Baltimore weren’t singing “Alright” in the streets like in other cities. Instead, the song had a more private presence: something you listened to in the car by yourself, at home with your family, at the club with your friends.\u003c/p>\n\u003cp>Allen’s photos these days deal with softer subject matter: Friends, neighbors, random kids living their lives in Baltimore. It’s cautiously optimistic work that he says is inspired by Lamar. And he sometimes posts videos of his daughter dancing along to “Alright,” or mugging for the camera, rapping along.\u003c/p>\n\u003cp>“One day we will be all right,” he says. “Gotta keep fighting for that. The moment I don’t believe it’s gonna be all right, what am I fighting for?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can read the phrase “We gon’ be alright” as indicative of some distant future, where white supremacy and oppression are no longer a major concern — \u003cem>one day\u003c/em>, as Allen puts it. But maybe it can also mean something simpler, sooner. Something as small as coming home to your family.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Both+Party+And+Protest%2C+%27Alright%27+Is+The+Sound+Of+Black+Life%27s+Duality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865026/both-party-and-protest-alright-is-the-sound-of-black-lifes-duality",
"authors": [
"byline_arts_13865026"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_3156",
"arts_2767",
"arts_1774"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13865027",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"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?tag=commentary": {
"isFetching": false,
"latestQuery": {
"from": 240,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 374,
"relation": "eq"
},
"items": [
"arts_13866506",
"arts_13866684",
"arts_13866589",
"arts_13866256",
"arts_13866441",
"arts_13866072",
"arts_13865685",
"arts_13865555",
"arts_13865533",
"arts_13865042",
"arts_13865075",
"arts_13865026"
],
"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_tag_commentary": {
"isLoading": true
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"source_arts_13866506": {
"type": "terms",
"id": "source_arts_13866506",
"meta": {
"override": true
},
"name": "Commentary",
"isLoading": false
},
"source_arts_13865042": {
"type": "terms",
"id": "source_arts_13865042",
"meta": {
"override": true
},
"name": "Commentary",
"isLoading": false
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_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_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_4959": {
"type": "terms",
"id": "arts_4959",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4959",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual abuse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual abuse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4971,
"slug": "sexual-abuse",
"isLoading": false,
"link": "/arts/tag/sexual-abuse"
},
"arts_4778": {
"type": "terms",
"id": "arts_4778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4778",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual harrassment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual harrassment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4790,
"slug": "sexual-harrassment",
"isLoading": false,
"link": "/arts/tag/sexual-harrassment"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_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_1696": {
"type": "terms",
"id": "arts_1696",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1696",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fashion",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fashion Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1708,
"slug": "fashion",
"isLoading": false,
"link": "/arts/tag/fashion"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_8665": {
"type": "terms",
"id": "arts_8665",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8665",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rue McClanahan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rue McClanahan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8677,
"slug": "rue-mcclanahan",
"isLoading": false,
"link": "/arts/tag/rue-mcclanahan"
},
"arts_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_5665": {
"type": "terms",
"id": "arts_5665",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5665",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beastie boys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beastie boys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5677,
"slug": "beastie-boys",
"isLoading": false,
"link": "/arts/tag/beastie-boys"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_974": {
"type": "terms",
"id": "arts_974",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "974",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 992,
"slug": "rap",
"isLoading": false,
"link": "/arts/tag/rap"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_7535": {
"type": "terms",
"id": "arts_7535",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7535",
"found": true
},
"relationships": {},
"featImg": null,
"name": "countrymusicPBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "countrymusicPBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7547,
"slug": "countrymusicpbs",
"isLoading": false,
"link": "/arts/tag/countrymusicpbs"
},
"arts_2041": {
"type": "terms",
"id": "arts_2041",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ken Burns",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ken Burns Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2053,
"slug": "ken-burns",
"isLoading": false,
"link": "/arts/tag/ken-burns"
},
"arts_3650": {
"type": "terms",
"id": "arts_3650",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3650",
"found": true
},
"relationships": {},
"featImg": null,
"name": "race",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "race Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3662,
"slug": "race",
"isLoading": false,
"link": "/arts/tag/race"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_3423": {
"type": "terms",
"id": "arts_3423",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3423",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Meghan Markle",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Meghan Markle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3435,
"slug": "meghan-markle",
"isLoading": false,
"link": "/arts/tag/meghan-markle"
},
"arts_8581": {
"type": "terms",
"id": "arts_8581",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8581",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prince Charles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Charles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8593,
"slug": "prince-charles",
"isLoading": false,
"link": "/arts/tag/prince-charles"
},
"arts_8580": {
"type": "terms",
"id": "arts_8580",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8580",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prince Harry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Harry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8592,
"slug": "prince-harry",
"isLoading": false,
"link": "/arts/tag/prince-harry"
},
"arts_8583": {
"type": "terms",
"id": "arts_8583",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8583",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Princess Diana",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Princess Diana Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8595,
"slug": "princess-diana",
"isLoading": false,
"link": "/arts/tag/princess-diana"
},
"arts_8126": {
"type": "terms",
"id": "arts_8126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "royal family",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "royal family Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8138,
"slug": "royal-family",
"isLoading": false,
"link": "/arts/tag/royal-family"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"arts_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_2777": {
"type": "terms",
"id": "arts_2777",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2777",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harvey Weinstein",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harvey Weinstein Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2789,
"slug": "harvey-weinstein",
"isLoading": false,
"link": "/arts/tag/harvey-weinstein"
},
"arts_5676": {
"type": "terms",
"id": "arts_5676",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5676",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual harassment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual harassment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5688,
"slug": "sexual-harassment",
"isLoading": false,
"link": "/arts/tag/sexual-harassment"
},
"arts_5050": {
"type": "terms",
"id": "arts_5050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Woody Allen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Woody Allen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5062,
"slug": "woody-allen",
"isLoading": false,
"link": "/arts/tag/woody-allen"
},
"arts_8501": {
"type": "terms",
"id": "arts_8501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "religion",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "religion Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8513,
"slug": "religion",
"isLoading": false,
"link": "/arts/tag/religion"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_1088": {
"type": "terms",
"id": "arts_1088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1088",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hiero Day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hiero Day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1105,
"slug": "hiero-day",
"isLoading": false,
"link": "/arts/tag/hiero-day"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_1551": {
"type": "terms",
"id": "arts_1551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1551",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland a's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland a's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1563,
"slug": "oakland-as",
"isLoading": false,
"link": "/arts/tag/oakland-as"
},
"arts_2356": {
"type": "terms",
"id": "arts_2356",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2356",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ogpenn",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ogpenn Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2368,
"slug": "ogpenn",
"isLoading": false,
"link": "/arts/tag/ogpenn"
},
"arts_5779": {
"type": "terms",
"id": "arts_5779",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5779",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sacramento",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sacramento Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5791,
"slug": "sacramento",
"isLoading": false,
"link": "/arts/tag/sacramento"
},
"arts_4506": {
"type": "terms",
"id": "arts_4506",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4506",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4518,
"slug": "sports",
"isLoading": false,
"link": "/arts/tag/sports"
},
"arts_5814": {
"type": "terms",
"id": "arts_5814",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5814",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BART",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BART Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5826,
"slug": "bart",
"isLoading": false,
"link": "/arts/tag/bart"
},
"arts_1331": {
"type": "terms",
"id": "arts_1331",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1343,
"slug": "bay-area",
"isLoading": false,
"link": "/arts/tag/bay-area"
},
"arts_7573": {
"type": "terms",
"id": "arts_7573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "censorship",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "censorship Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7585,
"slug": "censorship",
"isLoading": false,
"link": "/arts/tag/censorship"
},
"arts_2733": {
"type": "terms",
"id": "arts_2733",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2733",
"found": true
},
"relationships": {},
"featImg": null,
"name": "civil rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "civil rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2745,
"slug": "civil-rights",
"isLoading": false,
"link": "/arts/tag/civil-rights"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_2654": {
"type": "terms",
"id": "arts_2654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinatown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinatown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2666,
"slug": "chinatown",
"isLoading": false,
"link": "/arts/tag/chinatown"
},
"arts_1942": {
"type": "terms",
"id": "arts_1942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1954,
"slug": "comics",
"isLoading": false,
"link": "/arts/tag/comics"
},
"arts_1753": {
"type": "terms",
"id": "arts_1753",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1753",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Donald Trump",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Donald Trump Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1765,
"slug": "donald-trump",
"isLoading": false,
"link": "/arts/tag/donald-trump"
},
"arts_1756": {
"type": "terms",
"id": "arts_1756",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1756",
"found": true
},
"relationships": {},
"featImg": null,
"name": "protest",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "protest Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1768,
"slug": "protest",
"isLoading": false,
"link": "/arts/tag/protest"
},
"arts_3156": {
"type": "terms",
"id": "arts_3156",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3156",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Lives Matter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Lives Matter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3168,
"slug": "black-lives-matter",
"isLoading": false,
"link": "/arts/tag/black-lives-matter"
},
"arts_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_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"
}
},
"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
}
}
