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_13908269": {
"type": "attachments",
"id": "arts_13908269",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13908269",
"found": true
},
"parent": 13908266,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-160x101.png",
"width": 160,
"mimeType": "image/png",
"height": 101
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured.png",
"width": 2002,
"height": 1260
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-1020x642.png",
"width": 1020,
"mimeType": "image/png",
"height": 642
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-1536x967.png",
"width": 1536,
"mimeType": "image/png",
"height": 967
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-1920x1208.png",
"width": 1920,
"mimeType": "image/png",
"height": 1208
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-800x503.png",
"width": 800,
"mimeType": "image/png",
"height": 503
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/cat-daddies-featured-768x483.png",
"width": 768,
"mimeType": "image/png",
"height": 483
}
},
"publishDate": 1642191547,
"modified": 1643959425,
"caption": "Keys (A.K.A. @Goalkitty) and his owner, Peter Mares.",
"description": null,
"title": "Keys (A.K.A. @Goalkitty) and his owner, Peter Mares.",
"credit": "'Cat Daddies'",
"status": "inherit",
"altTag": "A tuxedo cat stares into the face of his owner, a white man, who stares intently back.",
"isLoading": false,
"fetchFailed": false
},
"arts_13908690": {
"type": "attachments",
"id": "arts_13908690",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13908690",
"found": true
},
"parent": 13908689,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0-160x120.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0.jpe",
"width": 1438,
"height": 1078
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0-1020x765.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0-800x600.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/janet-janet-jackson-current-419db0ffe4e38544c41ac6cf9b5a0b6160dca5d0-768x576.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1643397143,
"modified": 1643398293,
"caption": "Janet Jackson speaks in her new docuseries, 'Janet Jackson.'",
"description": null,
"title": "Janet Jackson speaks in her new docuseries, 'Janet Jackson.'",
"credit": "A&E",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13907766": {
"type": "attachments",
"id": "arts_13907766",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13907766",
"found": true
},
"parent": 13906331,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-160x105.png",
"width": 160,
"mimeType": "image/png",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW.png",
"width": 2142,
"height": 1400
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-2048x1339.png",
"width": 2048,
"mimeType": "image/png",
"height": 1339
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-1020x667.png",
"width": 1020,
"mimeType": "image/png",
"height": 667
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-1536x1004.png",
"width": 1536,
"mimeType": "image/png",
"height": 1004
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-1920x1255.png",
"width": 1920,
"mimeType": "image/png",
"height": 1255
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-800x523.png",
"width": 800,
"mimeType": "image/png",
"height": 523
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Polly-S-BW-768x502.png",
"width": 768,
"mimeType": "image/png",
"height": 502
}
},
"publishDate": 1641412544,
"modified": 1641412798,
"caption": "Poly Styrene, legendary frontwoman for X-Ray Spex, as she is best remembered.",
"description": null,
"title": "Poly Styrene, legendary frontwoman for X-Ray Spex, as she is best remembered.",
"credit": null,
"status": "inherit",
"altTag": "A black and white image of a Black woman wearing her hair in short tight curls that frame her face, grinning broadly with braces on her teeth. Graffiti covers the wall behind her.",
"isLoading": false,
"fetchFailed": false
},
"arts_13908405": {
"type": "attachments",
"id": "arts_13908405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13908405",
"found": true
},
"parent": 13908383,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/Reid-Davenport-Headshot_COVER-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1642727233,
"modified": 1642736500,
"caption": "Documentary filmmaker Reid Davenport’s ‘I Didn’t See You There’ has its world premiere at Sundance on Jan. 24.",
"description": null,
"title": "Reid-Davenport-Headshot_COVER",
"credit": "Daniel Chávez-Ontiveros",
"status": "inherit",
"altTag": "A light skinned man with sunglasses smiles.",
"isLoading": false,
"fetchFailed": false
},
"arts_13908260": {
"type": "attachments",
"id": "arts_13908260",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13908260",
"found": true
},
"parent": 13908259,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-scaled-e1642187509969.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-3375798_wide-b4765abda0db0f99471ac06897b033dffb2d0684-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1642186827,
"modified": 1642187619,
"caption": "CNN's new four-part documentary series, 'Reframed: Marilyn Monroe,' revisits the life and career of the film legend (shown here in 1954). The first two parts of the series air Jan. 16.",
"description": null,
"title": "CNN's new four-part documentary series, 'Reframed: Marilyn Monroe,' revisits the life and career of the film legend (shown here in 1954). The first two parts of the series air Jan. 16.",
"credit": "Baron/Hulton Archive/Getty Images",
"status": "inherit",
"altTag": "A black and white image of Marilyn Monroe, dressed casually in a loose shirt, reclining in the grass, smiling with tousled blonde hair.",
"isLoading": false,
"fetchFailed": false
},
"arts_13906580": {
"type": "attachments",
"id": "arts_13906580",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906580",
"found": true
},
"parent": 13906579,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-scaled-e1638214426984.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/2021-11-29-49ce1b1664d53e5f1441f04969f8b0ed6c8b9d7a-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1638212958,
"modified": 1638214562,
"caption": "'The Beatles: Get Back' concludes with the band's legendary 1969 rooftop concert.",
"description": null,
"title": "'The Beatles: Get Back' concludes with the band's legendary 1969 rooftop concert.",
"credit": "Courtesy Apple Corps Ltd. / Disney +",
"status": "inherit",
"altTag": "The Beatles perform on a rooftop next to chimney stacks, while Yoko Ono and a crowd of conservatively dressed men look on.",
"isLoading": false,
"fetchFailed": false
},
"arts_13906341": {
"type": "attachments",
"id": "arts_13906341",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906341",
"found": true
},
"parent": 13906340,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-scaled-e1637370653867.jpg",
"width": 1920,
"height": 1439
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-2048x1535.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1535
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-1536x1151.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1151
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/ap18018617870604-8662c9b60a5d394b5e6cc5b0ae3bbf6c44e14cfe-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1637346390,
"modified": 1637370681,
"caption": "Justin Timberlake and Janet Jackson during their performance at the Super Bowl halftime show in 2004.",
"description": null,
"title": "Justin Timberlake and Janet Jackson during their performance at the Super Bowl halftime show in 2004.",
"credit": "AP Photo/David Phillip, File",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13905800": {
"type": "attachments",
"id": "arts_13905800",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13905800",
"found": true
},
"parent": 13905745,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath.png",
"width": 2320,
"height": 1446
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-2048x1276.png",
"width": 2048,
"mimeType": "image/png",
"height": 1276
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-1020x636.png",
"width": 1020,
"mimeType": "image/png",
"height": 636
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-1536x957.png",
"width": 1536,
"mimeType": "image/png",
"height": 957
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-1920x1197.png",
"width": 1920,
"mimeType": "image/png",
"height": 1197
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-800x499.png",
"width": 800,
"mimeType": "image/png",
"height": 499
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alanis-Bath-768x479.png",
"width": 768,
"mimeType": "image/png",
"height": 479
}
},
"publishDate": 1635978159,
"modified": 1636508882,
"caption": "Alanis Morissette in a rare moment of relaxation in the mid-'90s at the peak of her fame. 'Jagged' explores the time period and the circumstances that led to Morissette's success.",
"description": "Alanis Morissette in a rare moment of relaxation in the mid-'90s at the peak of her fame. 'Jagged' explores the time period and the circumstances that led to Morissette's success.",
"title": "Alanis Morissette in a rare moment of relaxation in the mid-'90s at the peak of her fame. 'Jagged' explores the time period and the circumstances that led to Morissette's success.",
"credit": "HBO Max",
"status": "inherit",
"altTag": "A black and white image of Alanis Morissette sitting in a bubble bath smiling broadly, long hair wet from the water. A variety of candles burn in the background.",
"isLoading": false,
"fetchFailed": false
},
"arts_13906002": {
"type": "attachments",
"id": "arts_13906002",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906002",
"found": true
},
"parent": 13905625,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-160x107.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-scaled.jpeg",
"width": 2560,
"height": 1707
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-2048x1365.jpeg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-1020x680.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-1536x1024.jpeg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-1920x1280.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-800x533.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-2-768x512.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1636428809,
"modified": 1636498002,
"caption": "Esailama Artry-Diouf from the West African group Diamano Coura is dressed in bright multicolored fabric, as she dances in front of the now invisible mural in downtown Oakland.",
"description": "Esailama Artry-Diouf from the West African group Diamano Coura is dressed in bright multicolored fabric, as she dances in front of the now invisible mural in downtown Oakland.",
"title": "Esailama Artry-Diouf from the West African group Diamano Coura is dressed in bright multicolored fabric, as she dances in front of the now invisible mural in downtown Oakland.",
"credit": "Ayse Gursoz",
"status": "inherit",
"altTag": "Esailama Artry-Diouf from the West African group Diamano Coura is dressed in bright multicolored fabric, as she dances in front of the now invisible mural in downtown Oakland.",
"isLoading": false,
"fetchFailed": false
},
"arts_13904359": {
"type": "attachments",
"id": "arts_13904359",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13904359",
"found": true
},
"parent": 13904188,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-160x108.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-scaled.jpg",
"width": 2560,
"height": 1728
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-2048x1382.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1382
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-1020x689.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 689
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-1536x1037.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1037
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-1920x1296.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1296
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-800x540.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 540
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-72646818-768x518.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 518
}
},
"publishDate": 1633641916,
"modified": 1633642033,
"caption": "Brittany Murphy at the 2006 premiere of 'Happy Feet' in London.",
"description": "Brittany Murphy at the 2006 premiere of 'Happy Feet' in London.",
"title": "Brittany Murphy at the 2006 premiere of 'Happy Feet' in London.",
"credit": "Gareth Cattermole/Getty Images",
"status": "inherit",
"altTag": "The actress, Brittany Murphy, glances over her shoulder and smiles for the camera.",
"isLoading": false,
"fetchFailed": false
},
"arts_13903994": {
"type": "attachments",
"id": "arts_13903994",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903994",
"found": true
},
"parent": 13903591,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-160x105.png",
"width": 160,
"mimeType": "image/png",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM.png",
"width": 1918,
"height": 1254
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-1020x667.png",
"width": 1020,
"mimeType": "image/png",
"height": 667
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-1536x1004.png",
"width": 1536,
"mimeType": "image/png",
"height": 1004
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-800x523.png",
"width": 800,
"mimeType": "image/png",
"height": 523
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-768x502.png",
"width": 768,
"mimeType": "image/png",
"height": 502
}
},
"publishDate": 1632958134,
"modified": 1632958327,
"caption": "Laura Krolczyk was publicly shamed for making some indelicate comments about Trump supporters on her Facebook page. She is featured in new HBO documentary, '15 Minutes of Shame'.",
"description": "Laura Krolczyk was publicly shamed for making some indelicate comments about Trump supporters on her Facebook page. She is featured in new HBO documentary, '15 Minutes of Shame'.",
"title": "Laura Krolczyk was publicly shamed for making some indelicate comments about Trump supporters on her Facebook page. She is featured in new HBO documentary, '15 Minutes of Shame'.",
"credit": "Courtesy of HBO Max",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902110": {
"type": "attachments",
"id": "arts_13902110",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902110",
"found": true
},
"parent": 13902109,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-scaled-e1630346163705.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/bobross1_custom-d7577eef01de20ccfc2e1bf9245fda0b428a5542-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1630345590,
"modified": 1630346240,
"caption": "Bob Ross hosted 'The Joy of Painting' for 31 seasons in the 1980s and '90s. He died in 1995. The painter is now the subject of a new documentary, 'Bob Ross: Happy Accidents, Betrayal & Greed.'",
"description": "Bob Ross hosted 'The Joy of Painting' for 31 seasons in the 1980s and '90s. He died in 1995. The painter is now the subject of a new documentary, 'Bob Ross: Happy Accidents, Betrayal & Greed.'",
"title": "Bob Ross hosted 'The Joy of Painting' for 31 seasons in the 1980s and '90s. He died in 1995. The painter is now the subject of a new documentary, 'Bob Ross: Happy Accidents, Betrayal & Greed.'",
"credit": "Netflix",
"status": "inherit",
"altTag": "Bob Ross peaks out and smiles from behind a canvas he is painting.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13908689": {
"type": "authors",
"id": "byline_arts_13908689",
"meta": {
"override": true
},
"slug": "byline_arts_13908689",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13908259": {
"type": "authors",
"id": "byline_arts_13908259",
"meta": {
"override": true
},
"slug": "byline_arts_13908259",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13906579": {
"type": "authors",
"id": "byline_arts_13906579",
"meta": {
"override": true
},
"slug": "byline_arts_13906579",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13906340": {
"type": "authors",
"id": "byline_arts_13906340",
"meta": {
"override": true
},
"slug": "byline_arts_13906340",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13902109": {
"type": "authors",
"id": "byline_arts_13902109",
"meta": {
"override": true
},
"slug": "byline_arts_13902109",
"name": "Sarah Handel",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"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": [],
"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": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"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_documentaries": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"score": 9.557813
},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"title": "Documentaries",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 13
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=documentaries",
"seeMore": false,
"paginated": true,
"page": 13
}
},
{
"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_13908266": {
"type": "posts",
"id": "arts_13908266",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13908266",
"score": null,
"sort": [
1644000076000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1644000076,
"format": "standard",
"title": "'Cat Daddies' is All About the Ways Cats Bring Humans Together",
"headTitle": "‘Cat Daddies’ is All About the Ways Cats Bring Humans Together | KQED",
"content": "\u003cp>At the end of Cat\u003cem> Daddies,\u003c/em> you can’t help but suspect that this documentary didn’t end up being the one that director Mye Hoang and producer/editor Dave Boyle had originally set out to make.\u003c/p>\n\u003cp>The movie is billed as “a refreshing and timely exploration of modern masculinity” told through the lens of cat-loving men around America. And the film, which screens \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Feb. 5 at the San Francisco Independent Film Festival\u003c/a>, is bookended by sharp points related to that theme. The 75-minutes or so in the middle, however? Well, that’s just seven men and a station house full of fire fighters hanging out with their kitties. It’s not a bad film. Soothing, if anything. You’re just not going to learn a great deal from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2cddvE-fekI\u003c/p>\n\u003cp>In the first and last moments of the film, some of the titular cat daddies discuss keeping their love of cats quiet while they were growing up. They describe receiving or fearing judgment from male friends for wanting to get cats at all. And some of them momentarily ponder old-fashioned notions of masculinity that are rooted in the idea of men as protectors. So, these men wonder, shouldn’t protecting cats count too?\u003c/p>\n\u003cp>I wish the movie had delved further into that. I wish it had explored how \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\" target=\"_blank\" rel=\"noopener noreferrer\">tropes about cat ladies\u003c/a>, and traditional notions of felines as inherently feminine, have made it harder for men to embrace their cat-loving selves. Instead, what we get are casual and intimate snapshots of some men who accidentally fell in love with cats and have found the will to embrace it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The men featured are: an actor, a truck driver, a software engineer, an advertising professional, a stunt performer, a middle-aged man who’s embraced social media, a homeless man dealing with serious illness, and the aforementioned fire fighters. While their professions and personalities differ, the men featured all have similar dispositions. They are all serene, gentle souls. And maybe that’s a reflection of the therapeutic good that cats can do.\u003c/p>\n\u003cp>[aside postID='arts_13891913,arts_13886425,arts_13898520']Overall, what \u003cem>Cat Daddies\u003c/em> does best is to demonstrate how a love for kitties can bring people together. Peter Mares meets his girlfriend by talking to her about Keys (a.k.a. \u003ca href=\"https://www.instagram.com/goalkitty\" target=\"_blank\" rel=\"noopener noreferrer\">Goal Kitty\u003c/a>), his social media star pet. Ryan Robertson is able to turn his friendship with a fellow stunt performer into a romance because she wants to meet his Maine Coon. Will Zweigart brings together communities in Brooklyn by teaching them how to trap, neuter and release feral colonies. Actor Nathan Kehn co-founded \u003ca href=\"https://tabbydates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dating app for cat lovers\u003c/a> after some women found his four cats to be too many. David Durst meets up with people on his truck journeys across the country because they want to meet his cat \u003ca href=\"https://toratravels.weebly.com/#:~:text=Tora%20is%20a%20year%20old,100%2C000%20miles%20under%20her%20collar.\" target=\"_blank\" rel=\"noopener noreferrer\">Tora—another social media star\u003c/a>.\u003c/p>\n\u003cp>Most touching of all, though, is the story of David Giovanni, a man living with cancer and cerebral palsy on the streets of New York, who nurses an abandoned kitten back to health. That cat, Lucky, lives up to his name, helping David form bonds with two cat-loving new friends who help David into housing, and take care of Lucky when David is in the hospital.\u003c/p>\n\u003cp>It probably would have made more sense, then, to call \u003cem>Cat Daddies\u003c/em> “Cat Communities.” Because what this movie is really about, at its core, is the bond that forms between humans who share a love of pussycats. Now they have a sweet movie to bond over as well.\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>\u003c/p>\n\u003cp>\u003cem>‘Cat Daddies’ is playing as part of SF IndieFest at the Roxie on Saturday, Feb. 5, at 2:30pm. \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 639,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705007235,
"excerpt": "The new documentary follows seven men and their feline friends as they form bonds across America.",
"headData": {
"twImgId": "",
"twTitle": "'Cat Daddies' is All About the Ways Cats Bring Humans Together",
"socialTitle": "Review: 'Cat Daddies' Profiles Cat-Loving Men at SF IndieFest %%page%% %%sep%% KQED",
"ogTitle": "'Cat Daddies' is All About the Ways Cats Bring Humans Together",
"ogImgId": "",
"twDescription": "The new documentary follows seven men and their feline friends as they form bonds across America.",
"description": "In the documentary, seven men and their feline friends form bonds across America.",
"socialDescription": "In the documentary, seven men and their feline friends form bonds across America.",
"title": "Review: 'Cat Daddies' Profiles Cat-Loving Men at SF IndieFest | KQED",
"ogDescription": "The new documentary follows seven men and their feline friends as they form bonds across America.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Cat Daddies' is All About the Ways Cats Bring Humans Together",
"datePublished": "2022-02-04T10:41:16-08:00",
"dateModified": "2024-01-11T13:07:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cat-daddies-documentary-mye-hoang-roxie-indiefest-dave-boyle",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13908266/cat-daddies-documentary-mye-hoang-roxie-indiefest-dave-boyle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of Cat\u003cem> Daddies,\u003c/em> you can’t help but suspect that this documentary didn’t end up being the one that director Mye Hoang and producer/editor Dave Boyle had originally set out to make.\u003c/p>\n\u003cp>The movie is billed as “a refreshing and timely exploration of modern masculinity” told through the lens of cat-loving men around America. And the film, which screens \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Feb. 5 at the San Francisco Independent Film Festival\u003c/a>, is bookended by sharp points related to that theme. The 75-minutes or so in the middle, however? Well, that’s just seven men and a station house full of fire fighters hanging out with their kitties. It’s not a bad film. Soothing, if anything. You’re just not going to learn a great deal from it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2cddvE-fekI'\n title='//www.youtube.com/embed/2cddvE-fekI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first and last moments of the film, some of the titular cat daddies discuss keeping their love of cats quiet while they were growing up. They describe receiving or fearing judgment from male friends for wanting to get cats at all. And some of them momentarily ponder old-fashioned notions of masculinity that are rooted in the idea of men as protectors. So, these men wonder, shouldn’t protecting cats count too?\u003c/p>\n\u003cp>I wish the movie had delved further into that. I wish it had explored how \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\" target=\"_blank\" rel=\"noopener noreferrer\">tropes about cat ladies\u003c/a>, and traditional notions of felines as inherently feminine, have made it harder for men to embrace their cat-loving selves. Instead, what we get are casual and intimate snapshots of some men who accidentally fell in love with cats and have found the will to embrace it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The men featured are: an actor, a truck driver, a software engineer, an advertising professional, a stunt performer, a middle-aged man who’s embraced social media, a homeless man dealing with serious illness, and the aforementioned fire fighters. While their professions and personalities differ, the men featured all have similar dispositions. They are all serene, gentle souls. And maybe that’s a reflection of the therapeutic good that cats can do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891913,arts_13886425,arts_13898520",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Overall, what \u003cem>Cat Daddies\u003c/em> does best is to demonstrate how a love for kitties can bring people together. Peter Mares meets his girlfriend by talking to her about Keys (a.k.a. \u003ca href=\"https://www.instagram.com/goalkitty\" target=\"_blank\" rel=\"noopener noreferrer\">Goal Kitty\u003c/a>), his social media star pet. Ryan Robertson is able to turn his friendship with a fellow stunt performer into a romance because she wants to meet his Maine Coon. Will Zweigart brings together communities in Brooklyn by teaching them how to trap, neuter and release feral colonies. Actor Nathan Kehn co-founded \u003ca href=\"https://tabbydates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dating app for cat lovers\u003c/a> after some women found his four cats to be too many. David Durst meets up with people on his truck journeys across the country because they want to meet his cat \u003ca href=\"https://toratravels.weebly.com/#:~:text=Tora%20is%20a%20year%20old,100%2C000%20miles%20under%20her%20collar.\" target=\"_blank\" rel=\"noopener noreferrer\">Tora—another social media star\u003c/a>.\u003c/p>\n\u003cp>Most touching of all, though, is the story of David Giovanni, a man living with cancer and cerebral palsy on the streets of New York, who nurses an abandoned kitten back to health. That cat, Lucky, lives up to his name, helping David form bonds with two cat-loving new friends who help David into housing, and take care of Lucky when David is in the hospital.\u003c/p>\n\u003cp>It probably would have made more sense, then, to call \u003cem>Cat Daddies\u003c/em> “Cat Communities.” Because what this movie is really about, at its core, is the bond that forms between humans who share a love of pussycats. Now they have a sweet movie to bond over as well.\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>\u003c/p>\n\u003cp>\u003cem>‘Cat Daddies’ is playing as part of SF IndieFest at the Roxie on Saturday, Feb. 5, at 2:30pm. \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13908266/cat-daddies-documentary-mye-hoang-roxie-indiefest-dave-boyle",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_9124",
"arts_9340",
"arts_13672",
"arts_10278"
],
"featImg": "arts_13908269",
"label": "arts_140"
},
"arts_13908689": {
"type": "posts",
"id": "arts_13908689",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13908689",
"score": null,
"sort": [
1643402108000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1643402108,
"format": "standard",
"title": "Lifetime and A&E's Janet Jackson Docuseries Promises More Than it Delivers",
"headTitle": "Lifetime and A&E’s Janet Jackson Docuseries Promises More Than it Delivers | KQED",
"content": "\u003cp>The promise of A&E and Lifetime’s four-part docuseries on pop icon Janet Jackson, titled simply, \u003cem>Janet Jackson.—\u003c/em>with a period—is obvious.\u003c/p>\n\u003cp>Executive produced by Miss Jackson and her brother Randy—with never before seen home movie footage and interviews with big stars like Tyler Perry, Samuel L. Jackson and Missy Elliot—the project offers a close-up look at a famously private music legend told from her perspective.\u003c/p>\n\u003cp>[aside postid='arts_13906331']But, after watching two of the four hours A&E and Lifetime will air over two days, I thought this artist—who has spent her entire career protecting her public image and private moments—wasn’t really prepared to allow a fully incisive documentary about her own life.\u003c/p>\n\u003cp>It feels as if there is a tension inside \u003cem>Janet Jackson.\u003c/em>; the docuseries often provides interesting revelations, only to scurry away from big moments for the next story point—as if unwilling to dig too deep into painful memories or controversial times.\u003c/p>\n\u003ch3>The tension between disclosure and privacy\u003c/h3>\n\u003cp>For example, in the first episode, Janet Jackson speaks emotionally about her first marriage to singer James DeBarge. The two eloped and got married in secret when she was just 18 years old, and she discovered DeBarge had a raging drug habit which he couldn’t shake; their marriage was annulled about a year later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, as heartbreaking as that story is—she says DeBarge left her alone in a hotel room in Grand Rapids, Mich. for three hours on their wedding night—it feels like there is much more left unsaid. Her father Joe Jackson was famously controlling; his rigid ways helped mold The Jacksons into a hit group for Motown and guided her early performing career. How did he and the rest of the family react to her surprise marriage—especially when it became obvious how much DeBarge was struggling with substance abuse issues?\u003c/p>\n\u003cp>Her union with DeBarge wouldn’t be the only time Janet Jackson surprised her family with nuptials. Her sister, Rebbie Jackson, said she was also “blindsided” when Janet married second husband Rene Elizondo, Jr. in 1991. But there’s not much explanation here for why Janet has been so secretive about those events, beyond Rebbie’s observation that her sister is intensely private.\u003c/p>\n\u003cp>[aside postid='arts_13894392']The docuseries isn’t above a little empty hype, either. The first episode closes with ominous clips suggesting Janet will \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10445801/Janet-Jackson-denies-carrying-secret-child-ex-husband-James-DeBarge.html\" target=\"_blank\" rel=\"noopener noreferrer\">speak on the longstanding rumors\u003c/a> that she had a secret daughter while married to DeBarge that she either gave to Rebbie or put up for adoption. Early in the second episode, Janet and Rebbie imply it’s not true—a denial the family has maintained for years.\u003c/p>\n\u003cp>“I could never keep a child away from James,” Janet Jackson tells the camera at one point, without directly saying the child does not exist. “How could I keep a child from their father? I could never do that, that’s not right.”\u003c/p>\n\u003cp>But the docuseries doesn’t note that one reason the rumors persisted is because members of DeBarge’s family \u003ca href=\"https://www.insideedition.com/22247-janet-jacksons-ex-sister-in-law-apologizes-over-singers-secret-daughter-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">have told press outlets\u003c/a> they thought Janet was pregnant when the marriage ended. James DeBarge said on a reality TV show in 2016 that \u003ca href=\"https://www.etonline.com/news/202631_janet_jackson_ex_husband_james_debarge_claims_the_two_have_a_secret_daughter_together\" target=\"_blank\" rel=\"noopener noreferrer\">he believed the child existed\u003c/a>.\u003c/p>\n\u003cp>Still, even though DeBarge appears in \u003cem>Janet Jackson.—\u003c/em>and the docuseries shows images of newspaper clippings about his statements on the child—he isn’t shown answering any questions about that issue on camera. And Janet Jackson never mentions him or his family as a possible source of the rumors.\u003c/p>\n\u003cp>It is odd, given how much attention those allegations got just a few years ago, that the docuseries doesn’t fully explore this—if only to refute or explain what they show DeBarge has said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yPHFcDHJYTU\u003c/p>\n\u003ch3>Telling moments in home movie footage\u003c/h3>\n\u003cp>There are some telling moments revealed in the first two episodes, in part, because Jackson’s second husband Elizondo documented much of their life with his own cameras. We see her writing lyrics for songs while recording the album \u003cem>Rhythm Nation 1814\u003c/em>, pushing back on criticisms that her artistic identity is solely a creation of producers Jimmy Jam and Terry Lewis.\u003c/p>\n\u003cp>Another scene, where Jimmy Jam gets into an argument with her while recording vocals for \u003cem>Rhythm Nation—\u003c/em>he is pushing her to deliver more energy in her performance—perfectly encapsulates how fatigue and pressure can bring emotional combustion in recording.\u003c/p>\n\u003cp>[aside postID='pop_20175,arts_13892744,pop_108623']The docuseries also often references her desire to escape the shadow of her superstar brother, her willful father and her famous last name. “It has opened a great deal of doors for me… having that name,” she says at one point. “[But] I wanted my own identity.”\u003c/p>\n\u003cp>As a native of Gary, Indiana, I loved how the docuseries began with Janet and Randy visiting the tiny, two-bedroom home there that she, her parents and her eight siblings lived in during the 1960s. (It was, in fact, just a few blocks north of my grandmother’s house.) But it was also odd to see her experience Gary mostly from behind the window of an automobile, surveying a crumbling, economically depressed area that is now a shadow of the bustling city it was when she lived there.\u003c/p>\n\u003cp>The third episode promises to deliver her perspective on the child molestation accusations made against her brother, now-deceased pop icon Michael Jackson.\u003c/p>\n\u003cp>And there will be lots of interest in hearing her side of the infamous 2004 Super Bowl “wardrobe malfunction,” where her breast was exposed briefly at the end of her halftime performance by guest Justin Timberlake. Fans have long held she was unfairly damaged by the incident—paying a heavier price than Timberlake, perhaps due to the ire of then-CBS CEO Les Moonves.\u003c/p>\n\u003cp>A docuseries like this one would be a good venue to find out exactly what happened from her perspective. What was planned for the halftime show, did it go wrong, did she feel Moonves was gunning for her afterward and did she feel abandoned by Timberlake?\u003c/p>\n\u003cp>I wasn’t able to see the final episode, so I don’t know if those questions were answered or how. But given what I have seen of \u003cem>Janet Jackson.\u003c/em>, I’m not confident we’ll get the kind of in-depth examination that usually makes for a great docuseries.\u003c/p>\n\u003cp>Like the moment when Jimmy Jam presses Janet to deliver a better performance in the studio, this documentary needed an outside voice strong enough to push her to go deeper—revealing more than we can read in a Wikipedia entry or see in gossip columns.\u003c/p>\n\u003cp>Over the years, you get the sense that the Jackson family has devoted a lot of energy to downplaying, avoiding and publicly ignoring the dramas which have swirled around them for decades. It’s a defense mechanism which makes sense on a human level, especially given how much attention, commentary and coverage the superstar family has drawn since the 1970s.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that reflex doesn’t serve \u003cem>Janet Jackson.\u003c/em>, leading to a docuseries that pulls back the curtain a bit, but falls short of fully revealing the inner life of a groundbreaking pop star with so many compelling stories left to tell.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lifetime+and+A%26E%27s+Janet+Jackson+docuseries+promises+more+than+it+delivers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1276,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705007266,
"excerpt": "The famously private music legend could have opened up in a two-part docuseries—but the show leaves many stories left untold. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The famously private music legend could have opened up in a two-part docuseries—but the show leaves many stories left untold. ",
"title": "Lifetime and A&E's Janet Jackson Docuseries Promises More Than it Delivers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lifetime and A&E's Janet Jackson Docuseries Promises More Than it Delivers",
"datePublished": "2022-01-28T12:35:08-08:00",
"dateModified": "2024-01-11T13:07:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lifetime-and-aes-janet-jackson-docuseries-promises-more-than-it-delivers",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1076164474&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 28 Jan 2022 12:55:07 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 28 Jan 2022 13:40:40 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/01/28/1076164474/janet-jackson-docuseries-lifetime-review?ft=nprml&f=1076164474",
"nprImageAgency": "A&E",
"nprStoryId": "1076164474",
"nprByline": "Eric Deggans",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 28 Jan 2022 13:40:00 -0500",
"path": "/arts/13908689/lifetime-and-aes-janet-jackson-docuseries-promises-more-than-it-delivers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promise of A&E and Lifetime’s four-part docuseries on pop icon Janet Jackson, titled simply, \u003cem>Janet Jackson.—\u003c/em>with a period—is obvious.\u003c/p>\n\u003cp>Executive produced by Miss Jackson and her brother Randy—with never before seen home movie footage and interviews with big stars like Tyler Perry, Samuel L. Jackson and Missy Elliot—the project offers a close-up look at a famously private music legend told from her perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13906331",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But, after watching two of the four hours A&E and Lifetime will air over two days, I thought this artist—who has spent her entire career protecting her public image and private moments—wasn’t really prepared to allow a fully incisive documentary about her own life.\u003c/p>\n\u003cp>It feels as if there is a tension inside \u003cem>Janet Jackson.\u003c/em>; the docuseries often provides interesting revelations, only to scurry away from big moments for the next story point—as if unwilling to dig too deep into painful memories or controversial times.\u003c/p>\n\u003ch3>The tension between disclosure and privacy\u003c/h3>\n\u003cp>For example, in the first episode, Janet Jackson speaks emotionally about her first marriage to singer James DeBarge. The two eloped and got married in secret when she was just 18 years old, and she discovered DeBarge had a raging drug habit which he couldn’t shake; their marriage was annulled about a year later.\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>Still, as heartbreaking as that story is—she says DeBarge left her alone in a hotel room in Grand Rapids, Mich. for three hours on their wedding night—it feels like there is much more left unsaid. Her father Joe Jackson was famously controlling; his rigid ways helped mold The Jacksons into a hit group for Motown and guided her early performing career. How did he and the rest of the family react to her surprise marriage—especially when it became obvious how much DeBarge was struggling with substance abuse issues?\u003c/p>\n\u003cp>Her union with DeBarge wouldn’t be the only time Janet Jackson surprised her family with nuptials. Her sister, Rebbie Jackson, said she was also “blindsided” when Janet married second husband Rene Elizondo, Jr. in 1991. But there’s not much explanation here for why Janet has been so secretive about those events, beyond Rebbie’s observation that her sister is intensely private.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894392",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The docuseries isn’t above a little empty hype, either. The first episode closes with ominous clips suggesting Janet will \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10445801/Janet-Jackson-denies-carrying-secret-child-ex-husband-James-DeBarge.html\" target=\"_blank\" rel=\"noopener noreferrer\">speak on the longstanding rumors\u003c/a> that she had a secret daughter while married to DeBarge that she either gave to Rebbie or put up for adoption. Early in the second episode, Janet and Rebbie imply it’s not true—a denial the family has maintained for years.\u003c/p>\n\u003cp>“I could never keep a child away from James,” Janet Jackson tells the camera at one point, without directly saying the child does not exist. “How could I keep a child from their father? I could never do that, that’s not right.”\u003c/p>\n\u003cp>But the docuseries doesn’t note that one reason the rumors persisted is because members of DeBarge’s family \u003ca href=\"https://www.insideedition.com/22247-janet-jacksons-ex-sister-in-law-apologizes-over-singers-secret-daughter-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">have told press outlets\u003c/a> they thought Janet was pregnant when the marriage ended. James DeBarge said on a reality TV show in 2016 that \u003ca href=\"https://www.etonline.com/news/202631_janet_jackson_ex_husband_james_debarge_claims_the_two_have_a_secret_daughter_together\" target=\"_blank\" rel=\"noopener noreferrer\">he believed the child existed\u003c/a>.\u003c/p>\n\u003cp>Still, even though DeBarge appears in \u003cem>Janet Jackson.—\u003c/em>and the docuseries shows images of newspaper clippings about his statements on the child—he isn’t shown answering any questions about that issue on camera. And Janet Jackson never mentions him or his family as a possible source of the rumors.\u003c/p>\n\u003cp>It is odd, given how much attention those allegations got just a few years ago, that the docuseries doesn’t fully explore this—if only to refute or explain what they show DeBarge has said.\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/yPHFcDHJYTU'\n title='//www.youtube.com/embed/yPHFcDHJYTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Telling moments in home movie footage\u003c/h3>\n\u003cp>There are some telling moments revealed in the first two episodes, in part, because Jackson’s second husband Elizondo documented much of their life with his own cameras. We see her writing lyrics for songs while recording the album \u003cem>Rhythm Nation 1814\u003c/em>, pushing back on criticisms that her artistic identity is solely a creation of producers Jimmy Jam and Terry Lewis.\u003c/p>\n\u003cp>Another scene, where Jimmy Jam gets into an argument with her while recording vocals for \u003cem>Rhythm Nation—\u003c/em>he is pushing her to deliver more energy in her performance—perfectly encapsulates how fatigue and pressure can bring emotional combustion in recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_20175,arts_13892744,pop_108623",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The docuseries also often references her desire to escape the shadow of her superstar brother, her willful father and her famous last name. “It has opened a great deal of doors for me… having that name,” she says at one point. “[But] I wanted my own identity.”\u003c/p>\n\u003cp>As a native of Gary, Indiana, I loved how the docuseries began with Janet and Randy visiting the tiny, two-bedroom home there that she, her parents and her eight siblings lived in during the 1960s. (It was, in fact, just a few blocks north of my grandmother’s house.) But it was also odd to see her experience Gary mostly from behind the window of an automobile, surveying a crumbling, economically depressed area that is now a shadow of the bustling city it was when she lived there.\u003c/p>\n\u003cp>The third episode promises to deliver her perspective on the child molestation accusations made against her brother, now-deceased pop icon Michael Jackson.\u003c/p>\n\u003cp>And there will be lots of interest in hearing her side of the infamous 2004 Super Bowl “wardrobe malfunction,” where her breast was exposed briefly at the end of her halftime performance by guest Justin Timberlake. Fans have long held she was unfairly damaged by the incident—paying a heavier price than Timberlake, perhaps due to the ire of then-CBS CEO Les Moonves.\u003c/p>\n\u003cp>A docuseries like this one would be a good venue to find out exactly what happened from her perspective. What was planned for the halftime show, did it go wrong, did she feel Moonves was gunning for her afterward and did she feel abandoned by Timberlake?\u003c/p>\n\u003cp>I wasn’t able to see the final episode, so I don’t know if those questions were answered or how. But given what I have seen of \u003cem>Janet Jackson.\u003c/em>, I’m not confident we’ll get the kind of in-depth examination that usually makes for a great docuseries.\u003c/p>\n\u003cp>Like the moment when Jimmy Jam presses Janet to deliver a better performance in the studio, this documentary needed an outside voice strong enough to push her to go deeper—revealing more than we can read in a Wikipedia entry or see in gossip columns.\u003c/p>\n\u003cp>Over the years, you get the sense that the Jackson family has devoted a lot of energy to downplaying, avoiding and publicly ignoring the dramas which have swirled around them for decades. It’s a defense mechanism which makes sense on a human level, especially given how much attention, commentary and coverage the superstar family has drawn since the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that reflex doesn’t serve \u003cem>Janet Jackson.\u003c/em>, leading to a docuseries that pulls back the curtain a bit, but falls short of fully revealing the inner life of a groundbreaking pop star with so many compelling stories left to tell.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lifetime+and+A%26E%27s+Janet+Jackson+docuseries+promises+more+than+it+delivers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13908689/lifetime-and-aes-janet-jackson-docuseries-promises-more-than-it-delivers",
"authors": [
"byline_arts_13908689"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_13672",
"arts_4417",
"arts_4919",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13908690",
"label": "arts_137"
},
"arts_13906331": {
"type": "posts",
"id": "arts_13906331",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906331",
"score": null,
"sort": [
1643389259000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1643389259,
"format": "standard",
"title": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile",
"headTitle": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile | KQED",
"content": "\u003cp>Ostensibly, \u003cem>I Am a Cliché\u003c/em> is a profile of British punk icon Poly Styrene, who founded and fronted X-Ray Spex between 1976 and ’79. But this 95-minute documentary, directed by Poly’s daughter \u003ca href=\"https://www.instagram.com/celestabella/\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Bell-Dos Santos\u003c/a> and filmmaker \u003ca href=\"https://www.imdb.com/name/nm7098521/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Sng\u003c/a>, proves to be much, much more than that.\u003c/p>\n\u003cp>[aside postid='arts_13902953']\u003cem>Cliché\u003c/em> unpacks a lot. It’s about art on the margins. It’s about the race and gender barriers that have historically policed popular culture. It’s about mental illness, the stigma it carries, and society’s reluctance to deal with it. It’s about dysfunctional families and finding love. And, most surprisingly of all—because of Poly Styrene’s lifelong fear of a culture built on plastic and artifice—it’s about now.\u003c/p>\n\u003cp>That sounds like a lot. Maybe too much. But nothing about \u003cem>I Am a Cliché\u003c/em> feels in the least bit labored. It moves with ease and grace thanks in large part to the forthright narration and emotional grounding provided by Celeste. Styrene’s daughter—who spent portions of her childhood terrified of her own mother—is determined not just to tell her mother’s story, but also to grant the singer a new degree of understanding.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=stXSFuUOdeU\u003c/p>\n\u003cp>Poly Styrene’s story starts out simply enough: mixed-race girl grows up in working-class neighborhood of South London during a turbulent time in Britain. She discovers punk, takes the initiative to form a band, smashes expectations and breaks boundaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The impact of Poly—staunchly unconventional, even in a sea of snarling punks—is worth pausing on to appreciate. Rhoda Dakar of \u003ca href=\"https://en.wikipedia.org/wiki/The_Bodysnatchers_(band)\" target=\"_blank\" rel=\"noopener noreferrer\">The Bodysnatchers\u003c/a> explains that, in some ways, she and Poly were readily accepted into a punk scene dominated by white men, precisely for the ways that they didn’t fit into it.\u003c/p>\n\u003cp>“Back then,” Dakar explains, “it was fairly unusual to be biracial. In a way, we were embraced by punk because it was full of people that nobody else wanted. We were welcomed because we were already outsiders.”\u003c/p>\n\u003cp>It is Dakar and Poly’s other female peers in \u003cem>Cliché\u003c/em>, who best express the quagmire of being a woman in punk in 1970s Britain. Gina Birch from \u003ca href=\"http://www.theraincoats.net/\" target=\"_blank\" rel=\"noopener noreferrer\">The Raincoats\u003c/a> says: “A lot of men in the media didn’t want women to step into that place. To be given more power and more say and more visibility.”\u003c/p>\n\u003cp>Writer \u003ca href=\"https://www.viviengoldman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vivien Goldman\u003c/a> notes: “Everyone always talks about ‘\u003ca href=\"https://www.youtube.com/watch?v=ogypBUCb7DA\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Bondage Up Yours\u003c/a>’ because, in a way, that sound cut through a sort of glass ceiling of what women singers could do with their voice.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RUBXwxjoAus\u003c/p>\n\u003cp>Beyond her fearless on-stage persona, Poly was sensitive, empathic and deeply philosophical. She worried about humanity’s future; she worried about a life lived without substance. And unrelenting, sexist scrutiny of her body and image in the music press made her worry she wasn’t good enough.\u003c/p>\n\u003cp>[aside postid='arts_13852873']“She felt like journalists were celebrating her by insinuating that she was unattractive and overweight,” Celeste remembers. “[They were] totally not getting what she was trying to achieve by choosing not to overexpose her voluptuous form on stage.”\u003c/p>\n\u003cp>Poly’s situation was further destabilized by the fact that she was bipolar but initially misdiagnosed as schizophrenic. All of those elements together made the chaos and propulsion of touring particularly difficult for her. This became very apparent in 1977 when X-Ray Spex spent time in New York and played the legendary punk venue CBGB. (Sonic Youth’s Thurston Moore was in attendance and the memories he shares of the show in \u003cem>Cliché\u003c/em> are pure gold.)\u003c/p>\n\u003cfigure id=\"attachment_13907828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Poly-mirror-800x538.png\" alt=\"The singer for X-Ray Spex, wearing a red and yellow band jacket, gazes into a mirror and applies make-up to her cheeks.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1536x1034.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-2048x1379.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1920x1292.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poly Styrene getting ready to perform, sometime in the late 1970s. \u003ccite>('I Am a Cliché')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the rest of her band simply found New York fascinating and fun, Poly was so overwhelmed by the rampant consumerism, seedy underbelly and drug culture of the city that she never quite recovered from the trip. Celeste says New York annihilated the last shreds of “whatever innocence [Poly Styrene] had left.”\u003c/p>\n\u003cp>And Poly’s own writings prove it. After returning to London, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>New York totally blew me apart. I saw everything I’d been writing about, but extreme and for real. For them it wasn’t a joke, it was the way they lived. For me, it was all a joke … It’s so bad that you think ‘God, if that’s what it’s gonna be like, I don’t want it.’ The weird thing about all the plastic is that people don’t actually like it. But in order to cope with it, they develop a perverse kind of fondness for it. Which is what I did … That was what was so frightening about New York.\u003c/p>\u003c/blockquote>\n\u003cp>Viewed from 2022, Poly’s fears about the future—and in particular a culture dominated by plastic (in all senses of the word)—seem positively prophetic. That they were shrugged off by most people in her own time can’t help but feel tragic.\u003c/p>\n\u003cp>By 1979, Poly’s inner struggles led her to break up the band at the peak of its powers. “Poly Styrene had to die,” Celeste explains, “so that Marianne Elliott [Styrene’s real name] could survive.”\u003c/p>\n\u003cp>For a time after X-Ray Spex, Celeste and her mother lived in a Hare Krishna community. Later, the two lived alone and Poly lapsed into a severe state of depression. Celeste describes being hungry and neglected to the degree that, at the age of eight, she climbed out of a window to get to the social service employees who had come to check on her. Celeste later declared in court that she would rather live with her grandmother—a choice that caused long-term rifts in the family.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Almost a decade before Poly’s death from cancer in 2011, mother and daughter reunited and became close. But much remained a mystery about Poly when Celeste suddenly lost her. “By the time I started to really appreciate how lucky I was to have such a remarkable woman as a mother and a role model,” Celeste says, “it was too late. She was leaving her body.”\u003c/p>\n\u003cp>If it sounds like I’ve told you the whole story laid bare in \u003cem>I Am a Cliché\u003c/em>, fear not—I’ve barely scratched the surface. I haven’t yet mentioned that it’s also a brilliant snapshot of British punk in its late-’70s heyday. Or that it’s about the importance of community, empathy and tolerance. Or that, at its core, it’s a beautiful meditation on what parents and children owe to one other. More than that, it’s about the tiny earthquakes that rumble around the world and forever change it when marginalized people elbow their way into closed-off spaces, and force other people to listen to them.\u003c/p>\n\u003cp>Poly Styrene was one of those people. Her legacy is bigger than you might think.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘I Am a Cliché’ arrives in movie theaters across the U.S. on Wednesday, Feb. 2, 2022. It will be available on demand starting Feb. 4, and begins streaming on Showtime in June. \u003ca href=\"https://www.polystyrenefilm.net/release\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1289,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705007269,
"excerpt": "Celeste Bell-Dos Santos’ film about her mother is a beautiful meditation on what parents and children owe to one another.",
"headData": {
"twImgId": "",
"twTitle": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile",
"socialTitle": "Review: ‘I Am a Cliché’ Capures Poly Styrene and ’70s Punk %%page%% %%sep%% KQED",
"ogTitle": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile",
"ogImgId": "",
"twDescription": "",
"description": "Celeste Bell-Dos Santos’ film about her mother is a beautiful meditation on what parents and children owe to one another.",
"title": "Review: ‘I Am a Cliché’ Capures Poly Styrene and ’70s Punk | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile",
"datePublished": "2022-01-28T09:00:59-08:00",
"dateModified": "2024-01-11T13:07:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "poly-styrene-documentary-i-am-a-cliche-70s-punk-rock-uk",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13906331/poly-styrene-documentary-i-am-a-cliche-70s-punk-rock-uk",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ostensibly, \u003cem>I Am a Cliché\u003c/em> is a profile of British punk icon Poly Styrene, who founded and fronted X-Ray Spex between 1976 and ’79. But this 95-minute documentary, directed by Poly’s daughter \u003ca href=\"https://www.instagram.com/celestabella/\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Bell-Dos Santos\u003c/a> and filmmaker \u003ca href=\"https://www.imdb.com/name/nm7098521/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Sng\u003c/a>, proves to be much, much more than that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902953",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cliché\u003c/em> unpacks a lot. It’s about art on the margins. It’s about the race and gender barriers that have historically policed popular culture. It’s about mental illness, the stigma it carries, and society’s reluctance to deal with it. It’s about dysfunctional families and finding love. And, most surprisingly of all—because of Poly Styrene’s lifelong fear of a culture built on plastic and artifice—it’s about now.\u003c/p>\n\u003cp>That sounds like a lot. Maybe too much. But nothing about \u003cem>I Am a Cliché\u003c/em> feels in the least bit labored. It moves with ease and grace thanks in large part to the forthright narration and emotional grounding provided by Celeste. Styrene’s daughter—who spent portions of her childhood terrified of her own mother—is determined not just to tell her mother’s story, but also to grant the singer a new degree of understanding.\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/stXSFuUOdeU'\n title='//www.youtube.com/embed/stXSFuUOdeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Poly Styrene’s story starts out simply enough: mixed-race girl grows up in working-class neighborhood of South London during a turbulent time in Britain. She discovers punk, takes the initiative to form a band, smashes expectations and breaks boundaries.\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 impact of Poly—staunchly unconventional, even in a sea of snarling punks—is worth pausing on to appreciate. Rhoda Dakar of \u003ca href=\"https://en.wikipedia.org/wiki/The_Bodysnatchers_(band)\" target=\"_blank\" rel=\"noopener noreferrer\">The Bodysnatchers\u003c/a> explains that, in some ways, she and Poly were readily accepted into a punk scene dominated by white men, precisely for the ways that they didn’t fit into it.\u003c/p>\n\u003cp>“Back then,” Dakar explains, “it was fairly unusual to be biracial. In a way, we were embraced by punk because it was full of people that nobody else wanted. We were welcomed because we were already outsiders.”\u003c/p>\n\u003cp>It is Dakar and Poly’s other female peers in \u003cem>Cliché\u003c/em>, who best express the quagmire of being a woman in punk in 1970s Britain. Gina Birch from \u003ca href=\"http://www.theraincoats.net/\" target=\"_blank\" rel=\"noopener noreferrer\">The Raincoats\u003c/a> says: “A lot of men in the media didn’t want women to step into that place. To be given more power and more say and more visibility.”\u003c/p>\n\u003cp>Writer \u003ca href=\"https://www.viviengoldman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vivien Goldman\u003c/a> notes: “Everyone always talks about ‘\u003ca href=\"https://www.youtube.com/watch?v=ogypBUCb7DA\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Bondage Up Yours\u003c/a>’ because, in a way, that sound cut through a sort of glass ceiling of what women singers could do with their voice.”\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/RUBXwxjoAus'\n title='//www.youtube.com/embed/RUBXwxjoAus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beyond her fearless on-stage persona, Poly was sensitive, empathic and deeply philosophical. She worried about humanity’s future; she worried about a life lived without substance. And unrelenting, sexist scrutiny of her body and image in the music press made her worry she wasn’t good enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852873",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“She felt like journalists were celebrating her by insinuating that she was unattractive and overweight,” Celeste remembers. “[They were] totally not getting what she was trying to achieve by choosing not to overexpose her voluptuous form on stage.”\u003c/p>\n\u003cp>Poly’s situation was further destabilized by the fact that she was bipolar but initially misdiagnosed as schizophrenic. All of those elements together made the chaos and propulsion of touring particularly difficult for her. This became very apparent in 1977 when X-Ray Spex spent time in New York and played the legendary punk venue CBGB. (Sonic Youth’s Thurston Moore was in attendance and the memories he shares of the show in \u003cem>Cliché\u003c/em> are pure gold.)\u003c/p>\n\u003cfigure id=\"attachment_13907828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Poly-mirror-800x538.png\" alt=\"The singer for X-Ray Spex, wearing a red and yellow band jacket, gazes into a mirror and applies make-up to her cheeks.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1536x1034.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-2048x1379.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1920x1292.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poly Styrene getting ready to perform, sometime in the late 1970s. \u003ccite>('I Am a Cliché')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the rest of her band simply found New York fascinating and fun, Poly was so overwhelmed by the rampant consumerism, seedy underbelly and drug culture of the city that she never quite recovered from the trip. Celeste says New York annihilated the last shreds of “whatever innocence [Poly Styrene] had left.”\u003c/p>\n\u003cp>And Poly’s own writings prove it. After returning to London, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>New York totally blew me apart. I saw everything I’d been writing about, but extreme and for real. For them it wasn’t a joke, it was the way they lived. For me, it was all a joke … It’s so bad that you think ‘God, if that’s what it’s gonna be like, I don’t want it.’ The weird thing about all the plastic is that people don’t actually like it. But in order to cope with it, they develop a perverse kind of fondness for it. Which is what I did … That was what was so frightening about New York.\u003c/p>\u003c/blockquote>\n\u003cp>Viewed from 2022, Poly’s fears about the future—and in particular a culture dominated by plastic (in all senses of the word)—seem positively prophetic. That they were shrugged off by most people in her own time can’t help but feel tragic.\u003c/p>\n\u003cp>By 1979, Poly’s inner struggles led her to break up the band at the peak of its powers. “Poly Styrene had to die,” Celeste explains, “so that Marianne Elliott [Styrene’s real name] could survive.”\u003c/p>\n\u003cp>For a time after X-Ray Spex, Celeste and her mother lived in a Hare Krishna community. Later, the two lived alone and Poly lapsed into a severe state of depression. Celeste describes being hungry and neglected to the degree that, at the age of eight, she climbed out of a window to get to the social service employees who had come to check on her. Celeste later declared in court that she would rather live with her grandmother—a choice that caused long-term rifts in the family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894169",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Almost a decade before Poly’s death from cancer in 2011, mother and daughter reunited and became close. But much remained a mystery about Poly when Celeste suddenly lost her. “By the time I started to really appreciate how lucky I was to have such a remarkable woman as a mother and a role model,” Celeste says, “it was too late. She was leaving her body.”\u003c/p>\n\u003cp>If it sounds like I’ve told you the whole story laid bare in \u003cem>I Am a Cliché\u003c/em>, fear not—I’ve barely scratched the surface. I haven’t yet mentioned that it’s also a brilliant snapshot of British punk in its late-’70s heyday. Or that it’s about the importance of community, empathy and tolerance. Or that, at its core, it’s a beautiful meditation on what parents and children owe to one other. More than that, it’s about the tiny earthquakes that rumble around the world and forever change it when marginalized people elbow their way into closed-off spaces, and force other people to listen to them.\u003c/p>\n\u003cp>Poly Styrene was one of those people. Her legacy is bigger than you might think.\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>\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>‘I Am a Cliché’ arrives in movie theaters across the U.S. on Wednesday, Feb. 2, 2022. It will be available on demand starting Feb. 4, and begins streaming on Showtime in June. \u003ca href=\"https://www.polystyrenefilm.net/release\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906331/poly-styrene-documentary-i-am-a-cliche-70s-punk-rock-uk",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_74",
"arts_69"
],
"tags": [
"arts_8530",
"arts_13672",
"arts_10278",
"arts_16380",
"arts_913",
"arts_1334"
],
"featImg": "arts_13907766",
"label": "arts_140"
},
"arts_13908383": {
"type": "posts",
"id": "arts_13908383",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13908383",
"score": null,
"sort": [
1642745363000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1642745363,
"format": "standard",
"title": "Oakland-Made Documentary ‘I Didn’t See You There’ Puts Disability in a Political Lens",
"headTitle": "Oakland-Made Documentary ‘I Didn’t See You There’ Puts Disability in a Political Lens | KQED",
"content": "\u003cp>Road movies are an iconic American genre, powered by the rush of freedom, independence and possibility. Reid Davenport might laugh at being compared to L.A. mavericks Dennis Hooper or Monte Hellman—he’d prefer the late, great Bay Area documentary filmmaker Marlon Riggs—but his breakthrough feature doc, \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae072fb52cb56ea40fcad0\" rel=\"noopener noreferrer\" target=\"_blank\">I Didn’t See You There\u003c/a>\u003c/em>, fiercely follows in a grand tradition.\u003c/p>\n\u003cp>Davenport’s wheels aren’t affixed to a Harley or a GTO but to a chair. As is his camera, most of the time, giving viewers an unexpectedly beautiful view of the abstract grain and pattern of BART stations, sidewalks and streets—as well as the perspective of a person with a disability navigating his way around the Bay Area.[aside postID='arts_13905452']\u003c/p>\n\u003cp>The filmmaker informs us at the outset of \u003cem>I Didn’t See You There\u003c/em> that he doesn’t plan to appear onscreen. It’s an act of withholding that creates dramatic suspense (we yearn to see what we can’t) but Davenport had an altogether different goal in mind.\u003c/p>\n\u003cp>“It wasn’t so much a cinematic consideration as a statement that I constantly see in documentary films and in the media: disabled people are seen but not heard,” he explains in a Zoom interview from his Brooklyn apartment, where he recently moved after five years in Oakland. “I wanted to completely lift that on its head, and try to invite people into an approximation of my experience.”\u003c/p>\n\u003cp>Davenport’s appearance in his short films, made during and after his MFA studies in Stanford’s vaunted documentary filmmaking program, was cathartic. He also appears (eventually) in the short \u003ca href=\"https://www.sundance.org/blogs/meet-the-artist-reid-davenport-on-i-didnt-see-you-there-presented-by-dropbox/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Artist\u003c/a> video he recorded for the Sundance Film Festival world premiere of \u003cem>I Didn’t See You There\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With all its smooth outdoor tracking shots, the film portrays someone whose daily life requires actively pushing out into the world. Davenport wants us to experience this the way a person with a disability does, of course, but many have had the realization that the world doesn’t come to us, and we have to initiate connections.\u003c/p>\n\u003cp>“I’m very interested in the question of what seems to be unique to me versus what seems to be universal, and that’s what made me make the film,” Davenport says.\u003c/p>\n\u003cfigure id=\"attachment_13908410\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg\" alt=\"Reflection of circus tent and person in wheelchair in window\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13908410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘I Didn’t See You There.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>I Didn’t See You There\u003c/em> debuts Monday, Jan. 24 in the U.S. documentary category in the entirely \u003ca href=\"https://festival.sundance.org/\" rel=\"noopener noreferrer\" target=\"_blank\">online festival\u003c/a>, which begins today. Other Sundance docs by Bay Area filmmakers include Sara Dosa’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae06f6b52cb50e5a0fc998\" rel=\"noopener noreferrer\" target=\"_blank\">Fire of Love\u003c/a>\u003c/em>, about a French couple who studied volcanoes, and Meg Smaker’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae07956c1de50b88c80c58\" rel=\"noopener noreferrer\" target=\"_blank\">Jihad Rehab\u003c/a>\u003c/em>, which follows four former Al Qaeda members assimilating into Saudi society. \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae0705b52cb5bd170fca03\" rel=\"noopener noreferrer\" target=\"_blank\">Free Chol Soo Lee\u003c/a>\u003c/em>, by L.A. filmmakers Julie Ha and Eugene Yi, revisits the saga of a Korean immigrant wrongfully convicted of a 1973 murder in San Francisco’s Chinatown.\u003c/p>\n\u003cp>[aside postID='arts_13877373']2020’s Sundance edition featured local filmmakers Nicole Newnham and Jim Lebrecht’s \u003cem>\u003ca href=\"https://www.netflix.com/title/81001496\" rel=\"noopener noreferrer\" target=\"_blank\">Crip Camp: A Disability Revolution\u003c/a>\u003c/em> (on Netflix, and highly recommended), which integrated personal experience with a landmark 1970s civil rights campaign. In contrast, \u003cem>I Didn’t See You There\u003c/em> is primarily experiential and occasionally experimental, largely eschewing information and history in favor of confronting mainstream assumptions and attitudes in both explicit and implicit ways.\u003c/p>\n\u003cp>“I hope it implicates the viewer,” Davenport declares, though he needn’t worry. Take the seemingly prosaic scene where he does a 360 on an Oakland street corner, filming the panorama. A passerby asks if Davenport needs help (or possibly directions) and is politely turned down. Davenport’s independence has been well-established by this point, but I confess that I identified with what I perceived as a helpful stranger.\u003c/p>\n\u003cp>The filmmaker, however, says that he viewed the would-be Good Samaritan as “hyperaware and a nuisance.” “Independence is kind of an overused charm that I think is used for cosmetic purposes rather than the wellbeing of disabled people,” Davenport says. “Your action is spurred by the notion that I am helpless.”\u003c/p>\n\u003cp>Davenport takes on another not-quite-extinct attitude in \u003cem>I Didn’t See You There\u003c/em>, that people with disabilities are freaks. His musings are inspired by the appearance of a circus tent in his Oakland neighborhood, and the kind of acts once presented in such places of “amusement” by the likes of P.T. Barnum. The filmmaker and “the greatest showman” were both born in Bethel, Connecticut, which is anything but a point of pride for Davenport.\u003c/p>\n\u003cp>The accomplishment of \u003cem>I Didn’t See You There\u003c/em> lies in how effectively Davenport and editor Todd Chandler interweave the filmmaker’s personal life with his social-issue concerns, to the point where any distinction evaporates.[aside postID='news_11821598']\u003c/p>\n\u003cp>“Quite frankly,” Davenport says, “there is a dearth of work that puts disability in a political lens, and that’s what you need to start seeing disability as a political identity of marginalized people.”\u003c/p>\n\u003cp>This is where Davenport invokes Riggs, the gay, Black, Oakland director of the landmark docs \u003cem>Ethnic Notions\u003c/em>, \u003cem>Color Adjustment\u003c/em> and \u003cem>Tongues Untied\u003c/em> (his most personal and political work), and who died of AIDS in 1994.\u003c/p>\n\u003cp>“After I made my first film, which was about access, I wanted to move away from disability as a focal point and then [eventually] go back,” Davenport says. “I always felt very conflicted about that, because I didn’t want to be pigeonholed and I didn’t want to be that guy who uses what is in front of him only. I was talking to a professor about this and she mentioned Marlon Riggs, and it completely changed the way I saw myself because, unbeknownst to her, he’s one of my favorite filmmakers. I don’t see any of his work as selfish or derivative or obvious.”\u003c/p>\n\u003cp>His next film will be an examination of assisted suicide through a disability lens, that acknowledges (in Davenport’s words) “the devaluation of disabled lives.” Davenport has arrived on the scene, and he’s putting the pedal to the metal.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Update: ‘I Didn’t See You There’ screens at San Francisco’s Roxie Theater Nov. 4–10. \u003ca href=\"https://www.roxie.com/ai1ec_event/i-didnt-see-you-there/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1102,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705007293,
"excerpt": "Reid Davenport’s documentary invites us to experience the world from his wheelchair.",
"headData": {
"twImgId": "",
"twTitle": "Oakland-Made Documentary ‘I Didn’t See You There’ Puts Disability in a Political Lens",
"socialTitle": "‘I Didn’t See You There’ Documentary: From Oakland to Sundance%%page%% %%sep%% KQED",
"ogTitle": "Oakland-Made Documentary ‘I Didn’t See You There’ Puts Disability in a Political Lens",
"ogImgId": "",
"twDescription": "",
"description": "Reid Davenport’s documentary invites us to experience the world from his wheelchair.",
"title": "‘I Didn’t See You There’ Documentary: From Oakland to Sundance | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland-Made Documentary ‘I Didn’t See You There’ Puts Disability in a Political Lens",
"datePublished": "2022-01-20T22:09:23-08:00",
"dateModified": "2024-01-11T13:08:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "i-didnt-see-you-there-documentary-sundance-oakland-disability",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13908383/i-didnt-see-you-there-documentary-sundance-oakland-disability",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Road movies are an iconic American genre, powered by the rush of freedom, independence and possibility. Reid Davenport might laugh at being compared to L.A. mavericks Dennis Hooper or Monte Hellman—he’d prefer the late, great Bay Area documentary filmmaker Marlon Riggs—but his breakthrough feature doc, \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae072fb52cb56ea40fcad0\" rel=\"noopener noreferrer\" target=\"_blank\">I Didn’t See You There\u003c/a>\u003c/em>, fiercely follows in a grand tradition.\u003c/p>\n\u003cp>Davenport’s wheels aren’t affixed to a Harley or a GTO but to a chair. As is his camera, most of the time, giving viewers an unexpectedly beautiful view of the abstract grain and pattern of BART stations, sidewalks and streets—as well as the perspective of a person with a disability navigating his way around the Bay Area.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13905452",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The filmmaker informs us at the outset of \u003cem>I Didn’t See You There\u003c/em> that he doesn’t plan to appear onscreen. It’s an act of withholding that creates dramatic suspense (we yearn to see what we can’t) but Davenport had an altogether different goal in mind.\u003c/p>\n\u003cp>“It wasn’t so much a cinematic consideration as a statement that I constantly see in documentary films and in the media: disabled people are seen but not heard,” he explains in a Zoom interview from his Brooklyn apartment, where he recently moved after five years in Oakland. “I wanted to completely lift that on its head, and try to invite people into an approximation of my experience.”\u003c/p>\n\u003cp>Davenport’s appearance in his short films, made during and after his MFA studies in Stanford’s vaunted documentary filmmaking program, was cathartic. He also appears (eventually) in the short \u003ca href=\"https://www.sundance.org/blogs/meet-the-artist-reid-davenport-on-i-didnt-see-you-there-presented-by-dropbox/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Artist\u003c/a> video he recorded for the Sundance Film Festival world premiere of \u003cem>I Didn’t See You There\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With all its smooth outdoor tracking shots, the film portrays someone whose daily life requires actively pushing out into the world. Davenport wants us to experience this the way a person with a disability does, of course, but many have had the realization that the world doesn’t come to us, and we have to initiate connections.\u003c/p>\n\u003cp>“I’m very interested in the question of what seems to be unique to me versus what seems to be universal, and that’s what made me make the film,” Davenport says.\u003c/p>\n\u003cfigure id=\"attachment_13908410\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg\" alt=\"Reflection of circus tent and person in wheelchair in window\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13908410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘I Didn’t See You There.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>I Didn’t See You There\u003c/em> debuts Monday, Jan. 24 in the U.S. documentary category in the entirely \u003ca href=\"https://festival.sundance.org/\" rel=\"noopener noreferrer\" target=\"_blank\">online festival\u003c/a>, which begins today. Other Sundance docs by Bay Area filmmakers include Sara Dosa’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae06f6b52cb50e5a0fc998\" rel=\"noopener noreferrer\" target=\"_blank\">Fire of Love\u003c/a>\u003c/em>, about a French couple who studied volcanoes, and Meg Smaker’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae07956c1de50b88c80c58\" rel=\"noopener noreferrer\" target=\"_blank\">Jihad Rehab\u003c/a>\u003c/em>, which follows four former Al Qaeda members assimilating into Saudi society. \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae0705b52cb5bd170fca03\" rel=\"noopener noreferrer\" target=\"_blank\">Free Chol Soo Lee\u003c/a>\u003c/em>, by L.A. filmmakers Julie Ha and Eugene Yi, revisits the saga of a Korean immigrant wrongfully convicted of a 1973 murder in San Francisco’s Chinatown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13877373",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>2020’s Sundance edition featured local filmmakers Nicole Newnham and Jim Lebrecht’s \u003cem>\u003ca href=\"https://www.netflix.com/title/81001496\" rel=\"noopener noreferrer\" target=\"_blank\">Crip Camp: A Disability Revolution\u003c/a>\u003c/em> (on Netflix, and highly recommended), which integrated personal experience with a landmark 1970s civil rights campaign. In contrast, \u003cem>I Didn’t See You There\u003c/em> is primarily experiential and occasionally experimental, largely eschewing information and history in favor of confronting mainstream assumptions and attitudes in both explicit and implicit ways.\u003c/p>\n\u003cp>“I hope it implicates the viewer,” Davenport declares, though he needn’t worry. Take the seemingly prosaic scene where he does a 360 on an Oakland street corner, filming the panorama. A passerby asks if Davenport needs help (or possibly directions) and is politely turned down. Davenport’s independence has been well-established by this point, but I confess that I identified with what I perceived as a helpful stranger.\u003c/p>\n\u003cp>The filmmaker, however, says that he viewed the would-be Good Samaritan as “hyperaware and a nuisance.” “Independence is kind of an overused charm that I think is used for cosmetic purposes rather than the wellbeing of disabled people,” Davenport says. “Your action is spurred by the notion that I am helpless.”\u003c/p>\n\u003cp>Davenport takes on another not-quite-extinct attitude in \u003cem>I Didn’t See You There\u003c/em>, that people with disabilities are freaks. His musings are inspired by the appearance of a circus tent in his Oakland neighborhood, and the kind of acts once presented in such places of “amusement” by the likes of P.T. Barnum. The filmmaker and “the greatest showman” were both born in Bethel, Connecticut, which is anything but a point of pride for Davenport.\u003c/p>\n\u003cp>The accomplishment of \u003cem>I Didn’t See You There\u003c/em> lies in how effectively Davenport and editor Todd Chandler interweave the filmmaker’s personal life with his social-issue concerns, to the point where any distinction evaporates.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11821598",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Quite frankly,” Davenport says, “there is a dearth of work that puts disability in a political lens, and that’s what you need to start seeing disability as a political identity of marginalized people.”\u003c/p>\n\u003cp>This is where Davenport invokes Riggs, the gay, Black, Oakland director of the landmark docs \u003cem>Ethnic Notions\u003c/em>, \u003cem>Color Adjustment\u003c/em> and \u003cem>Tongues Untied\u003c/em> (his most personal and political work), and who died of AIDS in 1994.\u003c/p>\n\u003cp>“After I made my first film, which was about access, I wanted to move away from disability as a focal point and then [eventually] go back,” Davenport says. “I always felt very conflicted about that, because I didn’t want to be pigeonholed and I didn’t want to be that guy who uses what is in front of him only. I was talking to a professor about this and she mentioned Marlon Riggs, and it completely changed the way I saw myself because, unbeknownst to her, he’s one of my favorite filmmakers. I don’t see any of his work as selfish or derivative or obvious.”\u003c/p>\n\u003cp>His next film will be an examination of assisted suicide through a disability lens, that acknowledges (in Davenport’s words) “the devaluation of disabled lives.” Davenport has arrived on the scene, and he’s putting the pedal to the metal.\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>\u003ci>Update: ‘I Didn’t See You There’ screens at San Francisco’s Roxie Theater Nov. 4–10. \u003ca href=\"https://www.roxie.com/ai1ec_event/i-didnt-see-you-there/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13908383/i-didnt-see-you-there-documentary-sundance-oakland-disability",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_9693",
"arts_13672",
"arts_10342",
"arts_10278",
"arts_977",
"arts_11853",
"arts_585"
],
"featImg": "arts_13908405",
"label": "arts_140"
},
"arts_13908259": {
"type": "posts",
"id": "arts_13908259",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13908259",
"score": null,
"sort": [
1642187892000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1642187892,
"format": "standard",
"title": "'Reframed' Revisits Marilyn Monroe's Life and Legacy, From an All-Women Point of View",
"headTitle": "‘Reframed’ Revisits Marilyn Monroe’s Life and Legacy, From an All-Women Point of View | KQED",
"content": "\u003cp>The year 2022 marks the 60th anniversary of the death of \u003ca href=\"https://www.npr.org/tags/129027212/marilyn-monroe\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Monroe\u003c/a>, one of cinema’s most iconic, examined and enduring sex symbols. To commemorate the occasion, CNN is rolling out the new four-part documentary series, \u003cem>Reframed: Marilyn Monroe,\u003c/em> which takes a very different, and original, approach to its subject.\u003c/p>\n\u003cp>During her career, and for decades after her death, Marilyn was objectified, scrutinized and judged—mostly by male writers, biographers and historians. The 1973 book, \u003cem>Marilyn: A Biography, \u003c/em>paired a skeevy, sexist essay by Norman Mailer with pictures of the actress taken by photographer Lawrence Schiller.\u003c/p>\n\u003cp>[aside postid='pop_20417']Schiller does appear in \u003cem>Reframed\u003c/em>, but here he’s talking about Monroe’s acute awareness of the camera—how she posed, what images she selected and how she used them to enhance and leverage her own celebrity status.\u003c/p>\n\u003cp>But most of the time, the voices we hear in this new documentary are female. Actor \u003ca href=\"https://www.npr.org/2015/01/09/376124743/i-was-a-dramatic-kid-for-jessica-chastain-acting-came-naturally\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Chastain\u003c/a> narrates, and an all-women editorial team headed by Sam Starbuck reexamines Marilyn’s movies, marriages and career moves from her point of view. And we hear from women film critics and historians, including the always informative Alicia Malone from Turner Classic Movies.\u003c/p>\n\u003cp>We also hear from several women actors. Some younger ones share why they find Marilyn inspirational both on and off the screen. And peers like Joan Collins and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Burstyn\u003c/a>, who competed in the same sexist studio system as Marilyn did in the 1950s, reflect on how women were treated in Hollywood back then. It’s a revelatory new take on some familiar ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gCX8lddEYlE\u003c/p>\n\u003cp>In \u003cem>Reframed: Marilyn Monroe, \u003c/em>we learn how, as a young actress, Marilyn outlived and outmaneuvered the potential career-killing scandal of the emergence of some earlier nude photos. We also see how, as a more mature actress, she again embraced nude photographs—this time as a weapon, to gain media attention and bargaining power.\u003c/p>\n\u003cp>It was at a time when her movie studio, 20th Century Fox, was funneling almost all its money into the \u003ca href=\"https://www.npr.org/2011/03/25/134829949/elizabeth-taylors-legacy-aids-activist-movie-star\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Taylor\u003c/a> costume drama \u003cem>Cleopatra\u003c/em>. Monroe got the spotlight back on herself—and though she had a long and often combative relationship with the studio and its executives, and had been fired, she ultimately was rehired, given a big raise and awarded the contract terms she had been demanding.\u003c/p>\n\u003cp>We learn a lot more not only about her methods of negotiating, but also her motives. It was not the first time in Marilyn’s life she had fought the studio system and won, but it would be her last. She died in 1962 from an overdose at age 36.\u003c/p>\n\u003cp>[aside postid='pop_6656']But her films would survive, and \u003cem>Reframed \u003c/em>sees them with a fresh set of eyes. There’s the sparkle of her small screen appearance in the 1949 Marx Brothers comedy \u003cem>Love Happy\u003c/em>—the brothers’ last film, but Marilyn’s first. There’s the comic confidence of her brilliant work in \u003cem>The Seven Year Itch \u003c/em>and \u003cem>Some Like It Hot,\u003c/em> and the subtlety of her portrayals in such later, dramatic works as \u003cem>Bus Stop \u003c/em>and \u003cem>The Misfits\u003c/em>.\u003c/p>\n\u003cp>Marilyn took control of her career whenever and however she could, even starting her own production company to choose her own roles. And she took those roles seriously. Near the end of her life, when a reporter for \u003cem>Life \u003c/em>magazine asks her if it was difficult sometimes for her to crank out her performance, she bristles instantly at the word, saying, “I don’t crank anything.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At this point, there are no plans to make \u003cem>Reframed \u003c/em>an ongoing documentary series, reevaluating the careers and legacies of selected filmmakers and performers. But there ought to be—because \u003cem>Reframed: Marilyn Monroe \u003c/em>is planting its flag on some fresh territory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reframed%27+revisits+Marilyn+Monroe%27s+life+and+legacy%2C+from+an+all-women+point+of+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 661,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705007306,
"excerpt": "On the 60th anniversary of her death, CNN's new docuseries examines Monroe's savviness, smarts and self-belief.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On the 60th anniversary of her death, CNN's new docuseries examines Monroe's savviness, smarts and self-belief.",
"title": "'Reframed' Revisits Marilyn Monroe's Life and Legacy, From an All-Women Point of View | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Reframed' Revisits Marilyn Monroe's Life and Legacy, From an All-Women Point of View",
"datePublished": "2022-01-14T11:18:12-08:00",
"dateModified": "2024-01-11T13:08:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "reframed-revisits-marilyn-monroes-life-and-legacy-from-an-all-women-point-of-view",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1072768298&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 14 Jan 2022 11:52:00 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 14 Jan 2022 13:17:17 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/01/14/1072768298/reframed-marilyn-monroes-documentary-review?ft=nprml&f=1072768298",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/01/20220114_fa_03.mp3?orgId=427869011&topicId=1163&d=334&p=13&story=1072768298&ft=nprml&f=1072768298",
"nprImageAgency": "Hulton Archive/Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/11073123947-aab815.m3u?orgId=427869011&topicId=1163&d=334&p=13&story=1072768298&ft=nprml&f=1072768298",
"nprStoryId": "1072768298",
"nprByline": "David Bianculli",
"sticky": false,
"nprImageCredit": "Baron",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 14 Jan 2022 13:28:00 -0500",
"path": "/arts/13908259/reframed-revisits-marilyn-monroes-life-and-legacy-from-an-all-women-point-of-view",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/01/20220114_fa_03.mp3?orgId=427869011&topicId=1163&d=334&p=13&story=1072768298&ft=nprml&f=1072768298",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year 2022 marks the 60th anniversary of the death of \u003ca href=\"https://www.npr.org/tags/129027212/marilyn-monroe\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Monroe\u003c/a>, one of cinema’s most iconic, examined and enduring sex symbols. To commemorate the occasion, CNN is rolling out the new four-part documentary series, \u003cem>Reframed: Marilyn Monroe,\u003c/em> which takes a very different, and original, approach to its subject.\u003c/p>\n\u003cp>During her career, and for decades after her death, Marilyn was objectified, scrutinized and judged—mostly by male writers, biographers and historians. The 1973 book, \u003cem>Marilyn: A Biography, \u003c/em>paired a skeevy, sexist essay by Norman Mailer with pictures of the actress taken by photographer Lawrence Schiller.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_20417",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Schiller does appear in \u003cem>Reframed\u003c/em>, but here he’s talking about Monroe’s acute awareness of the camera—how she posed, what images she selected and how she used them to enhance and leverage her own celebrity status.\u003c/p>\n\u003cp>But most of the time, the voices we hear in this new documentary are female. Actor \u003ca href=\"https://www.npr.org/2015/01/09/376124743/i-was-a-dramatic-kid-for-jessica-chastain-acting-came-naturally\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Chastain\u003c/a> narrates, and an all-women editorial team headed by Sam Starbuck reexamines Marilyn’s movies, marriages and career moves from her point of view. And we hear from women film critics and historians, including the always informative Alicia Malone from Turner Classic Movies.\u003c/p>\n\u003cp>We also hear from several women actors. Some younger ones share why they find Marilyn inspirational both on and off the screen. And peers like Joan Collins and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Burstyn\u003c/a>, who competed in the same sexist studio system as Marilyn did in the 1950s, reflect on how women were treated in Hollywood back then. It’s a revelatory new take on some familiar ground.\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/gCX8lddEYlE'\n title='//www.youtube.com/embed/gCX8lddEYlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Reframed: Marilyn Monroe, \u003c/em>we learn how, as a young actress, Marilyn outlived and outmaneuvered the potential career-killing scandal of the emergence of some earlier nude photos. We also see how, as a more mature actress, she again embraced nude photographs—this time as a weapon, to gain media attention and bargaining power.\u003c/p>\n\u003cp>It was at a time when her movie studio, 20th Century Fox, was funneling almost all its money into the \u003ca href=\"https://www.npr.org/2011/03/25/134829949/elizabeth-taylors-legacy-aids-activist-movie-star\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Taylor\u003c/a> costume drama \u003cem>Cleopatra\u003c/em>. Monroe got the spotlight back on herself—and though she had a long and often combative relationship with the studio and its executives, and had been fired, she ultimately was rehired, given a big raise and awarded the contract terms she had been demanding.\u003c/p>\n\u003cp>We learn a lot more not only about her methods of negotiating, but also her motives. It was not the first time in Marilyn’s life she had fought the studio system and won, but it would be her last. She died in 1962 from an overdose at age 36.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_6656",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But her films would survive, and \u003cem>Reframed \u003c/em>sees them with a fresh set of eyes. There’s the sparkle of her small screen appearance in the 1949 Marx Brothers comedy \u003cem>Love Happy\u003c/em>—the brothers’ last film, but Marilyn’s first. There’s the comic confidence of her brilliant work in \u003cem>The Seven Year Itch \u003c/em>and \u003cem>Some Like It Hot,\u003c/em> and the subtlety of her portrayals in such later, dramatic works as \u003cem>Bus Stop \u003c/em>and \u003cem>The Misfits\u003c/em>.\u003c/p>\n\u003cp>Marilyn took control of her career whenever and however she could, even starting her own production company to choose her own roles. And she took those roles seriously. Near the end of her life, when a reporter for \u003cem>Life \u003c/em>magazine asks her if it was difficult sometimes for her to crank out her performance, she bristles instantly at the word, saying, “I don’t crank anything.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At this point, there are no plans to make \u003cem>Reframed \u003c/em>an ongoing documentary series, reevaluating the careers and legacies of selected filmmakers and performers. But there ought to be—because \u003cem>Reframed: Marilyn Monroe \u003c/em>is planting its flag on some fresh territory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reframed%27+revisits+Marilyn+Monroe%27s+life+and+legacy%2C+from+an+all-women+point+of+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13908259/reframed-revisits-marilyn-monroes-life-and-legacy-from-an-all-women-point-of-view",
"authors": [
"byline_arts_13908259"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_10772",
"arts_11323",
"arts_13672",
"arts_8393"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13908260",
"label": "arts_137"
},
"arts_13906579": {
"type": "posts",
"id": "arts_13906579",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906579",
"score": null,
"sort": [
1638214989000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1638214989,
"format": "standard",
"title": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans",
"headTitle": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans | KQED",
"content": "\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>[aside postid='arts_13890087']What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Auta2lagtw4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>[aside postid='arts_10742450']The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 709,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705007443,
"excerpt": "Peter Jackson's wondrous 'Get Back' offers an inside look at the band's creative process, as well as fresh live footage. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Peter Jackson's wondrous 'Get Back' offers an inside look at the band's creative process, as well as fresh live footage. ",
"title": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans",
"datePublished": "2021-11-29T11:43:09-08:00",
"dateModified": "2024-01-11T13:10:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-long-and-winding-beatles-docuseries-will-enchant-die-hard-and-casual-fans",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1059727840&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 29 Nov 2021 13:34:19 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 29 Nov 2021 13:41:21 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/11/29/1059727840/the-beatles-get-back-review?ft=nprml&f=1059727840",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/11/20211129_fa_02.mp3?orgId=427869011&topicId=1163&d=500&p=13&story=1059727840&ft=nprml&f=1059727840",
"nprImageAgency": "Courtesy Apple Corps Ltd. / Disney +",
"nprAudioM3u": "http://api.npr.org/m3u/11059809830-36e94f.m3u?orgId=427869011&topicId=1163&d=500&p=13&story=1059727840&ft=nprml&f=1059727840",
"nprStoryId": "1059727840",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 29 Nov 2021 13:44:00 -0500",
"path": "/arts/13906579/the-long-and-winding-beatles-docuseries-will-enchant-die-hard-and-casual-fans",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/11/20211129_fa_02.mp3?orgId=427869011&topicId=1163&d=500&p=13&story=1059727840&ft=nprml&f=1059727840",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890087",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\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/Auta2lagtw4'\n title='//www.youtube.com/embed/Auta2lagtw4'\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>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10742450",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906579/the-long-and-winding-beatles-docuseries-will-enchant-die-hard-and-casual-fans",
"authors": [
"byline_arts_13906579"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_8530",
"arts_3114",
"arts_13672"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13906580",
"label": "arts_137"
},
"arts_13906340": {
"type": "posts",
"id": "arts_13906340",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906340",
"score": null,
"sort": [
1637444010000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1637444010,
"format": "standard",
"title": "New 'New York Times' Doc Takes a Closer Look at Janet Jackson's Super Bowl Scandal",
"headTitle": "New ‘New York Times’ Doc Takes a Closer Look at Janet Jackson’s Super Bowl Scandal | KQED",
"content": "\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OddhPlcQrmo\u003c/p>\n\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>[aside postid='pop_20175']According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>[aside postid='arts_13892744']As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>[aside postid='pop_108058']In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1526,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705007461,
"excerpt": "The film looks at the \"wardrobe malfunction\" of the 2004 Super Bowl in a new light, but leaves questions unanswered.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The film looks at the "wardrobe malfunction" of the 2004 Super Bowl in a new light, but leaves questions unanswered.",
"title": "New 'New York Times' Doc Takes a Closer Look at Janet Jackson's Super Bowl Scandal | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New 'New York Times' Doc Takes a Closer Look at Janet Jackson's Super Bowl Scandal",
"datePublished": "2021-11-20T13:33:30-08:00",
"dateModified": "2024-01-11T13:11:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-new-york-times-doc-takes-a-closer-look-at-janet-jacksons-super-bowl-scandal",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1056562889&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 19 Nov 2021 12:00:20 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 19 Nov 2021 12:00:20 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/11/19/1056562889/new-york-times-fx-documentary-janet-jackson-justin-timberlake-super-bowl?ft=nprml&f=1056562889",
"nprImageAgency": "AP",
"nprStoryId": "1056562889",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "David Phillip",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 19 Nov 2021 12:00:00 -0500",
"path": "/arts/13906340/new-new-york-times-doc-takes-a-closer-look-at-janet-jacksons-super-bowl-scandal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\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/OddhPlcQrmo'\n title='//www.youtube.com/embed/OddhPlcQrmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\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 thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_20175",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892744",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108058",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\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>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906340/new-new-york-times-doc-takes-a-closer-look-at-janet-jacksons-super-bowl-scandal",
"authors": [
"byline_arts_13906340"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_990"
],
"tags": [
"arts_8481",
"arts_13672",
"arts_4417",
"arts_8416",
"arts_6125",
"arts_6012",
"arts_4506"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13906341",
"label": "arts_137"
},
"arts_13905745": {
"type": "posts",
"id": "arts_13905745",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13905745",
"score": null,
"sort": [
1637007067000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1637007067,
"format": "standard",
"title": "'Jagged' Captures a Young Alanis Morissette Turning Pain Into Power",
"headTitle": "‘Jagged’ Captures a Young Alanis Morissette Turning Pain Into Power | KQED",
"content": "\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>[aside postid='arts_13904188']Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CWtvC5a5TB0\u003c/p>\n\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>[aside postid='arts_13892800']When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Only in hindsight,” Garbage vocalist Shirley Manson says in the film, “am I aware of what Alanis did for every woman that’s come up behind her. When you’re battering down 13 million doors, that’s helping everyone.”\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1251,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705007489,
"excerpt": "Morissette disavowed the HBO doc as 'salacious.' It's really a snapshot of what happened to women in the '90s music industry. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Morissette disavowed the HBO doc as 'salacious.' It's really a snapshot of what happened to women in the '90s music industry. ",
"title": "'Jagged' Captures a Young Alanis Morissette Turning Pain Into Power | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Jagged' Captures a Young Alanis Morissette Turning Pain Into Power",
"datePublished": "2021-11-15T12:11:07-08:00",
"dateModified": "2024-01-11T13:11:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jagged-hbo-alanis-morissette-documentary-controversial",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13905745/jagged-hbo-alanis-morissette-documentary-controversial",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13904188",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\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/CWtvC5a5TB0'\n title='//www.youtube.com/embed/CWtvC5a5TB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894392",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892800",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\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>“Only in hindsight,” Garbage vocalist Shirley Manson says in the film, “am I aware of what Alanis did for every woman that’s come up behind her. When you’re battering down 13 million doors, that’s helping everyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13905745/jagged-hbo-alanis-morissette-documentary-controversial",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_990"
],
"tags": [
"arts_8054",
"arts_13672",
"arts_10278",
"arts_8350"
],
"featImg": "arts_13905800",
"label": "arts"
},
"arts_13905625": {
"type": "posts",
"id": "arts_13905625",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13905625",
"score": null,
"sort": [
1636498388000
]
},
"guestAuthors": [],
"slug": "alice-street-mural-documentary",
"title": "A Film About Oakland's Most Important Mural That You Can't See",
"publishDate": 1636498388,
"format": "standard",
"headTitle": "A Film About Oakland’s Most Important Mural That You Can’t See | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>A mural stands in downtown Oakland that honors the city’s culture and history. It’s a giant artwork birthed out of years and years of community conversations and the artists’ commitment to the concept.\u003c/p>\n\u003cp>The problem is that nobody can see the mural. Not anymore, at least. Except for a small patch of paint poking from behind a barrier, the mural depicting Oakland’s culture is now completely blocked by a new six-story luxury high-rise.\u003c/p>\n\u003cp>The story of the mural, and its disappearance, is shown in the full-length documentary \u003ca href=\"https://www.instagram.com/p/CV_mXnkP8fz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Alice Street\u003c/em>\u003c/a>. On Tuesday, Nov. 16, as a part of the Berkeley Film Foundation’s documentary screening series, the film will be shown at Oakland’s \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">New Parkway Theatre\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13906006\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg\" alt=\"Artists marching to City Hall to make sure their voices are heard. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1020x678.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1536x1021.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-2048x1362.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1920x1277.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gathered and marched to City Hall to make sure their voices are heard. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artists \u003ca href=\"https://www.instagram.com/withoutmyego/\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Mundo\u003c/a> (founder of the \u003ca href=\"https://crpbayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Rejuvenation Project\u003c/a>) and \u003ca href=\"https://www.instagram.com/panchopescador/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Pescador\u003c/a> began the project over a decade ago. The process was documented, from idea to outline. There were community conferences and government gatherings, as well as critiques and criticisms from neighbors who felt like the theme—people of color pushing for resistance against oppressive forces—didn’t represent their experience.\u003c/p>\n\u003cp>Nearby cultural centers were also included. At 14th Street and Alice Street, right across the street from the mural, is the Malonga Casquelourd Center, a hub for African drumming and dance performances. On the other side sits Hotel Oakland, a residential and cultural space for older Asian folks. Elements from the two centers—both the physical design of the buildings and faces of the people who’ve graced those grounds—were incorporated into the artwork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artists eventually created a mural covering four large walls of a sizable parking lot. But as the paint dried and the \u003ca href=\"https://www.kqed.org/arts/10139706/oaklands-newest-mural\" target=\"_blank\" rel=\"noopener noreferrer\">ribbon was cut in\u003c/a> August of 2014, a new development was being planned on that very spot.\u003c/p>\n\u003cfigure id=\"attachment_13906005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg\" alt=\"Performers playing instruments inside of Hotel Oakland.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1536x1061.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-2048x1415.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1920x1326.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers play instruments inside of Hotel Oakland. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited to highlight the artists and what’s happened since the documentary took place,” says film producer \u003ca href=\"https://linktr.ee/spenceriwilkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Spencer Wilkinson.\u003c/a>\u003c/p>\n\u003cp>He says the two lead artists on the project will be present for a post-screening dialogue on Nov. 16. They’ll be joined by drummer \u003ca href=\"https://actaonline.org/profile/kiazi-malonga/\" target=\"_blank\" rel=\"noopener noreferrer\">Kiazi Malonga\u003c/a>, son of the late world-renown artist Malonga Casquelourd and head of the \u003ca href=\"https://www.actaonline.org/profile/fua-dia-congo/\" target=\"_blank\" rel=\"noopener noreferrer\">Fua Dia Congo\u003c/a> performance group, as well as musician and poet \u003ca href=\"https://destinymuhammad.net/home\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad,\u003c/a> who is featured in the film asking the poignant question: “Is what’s coming better than what’s here?”\u003c/p>\n\u003cp>The film concludes with a note that individuals and community organizations such as the \u003ca href=\"https://www.ccedoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Coalition For Equitable Development (CCED)\u003c/a> have pushed for and received a set of community benefit agreements, which have led to more low-income housing, more parking—and, in addition to other agreements, they’ve been financially supported in the painting of a new mural.\u003c/p>\n\u003cfigure id=\"attachment_13906004\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg\" alt=\"Drummers gather at a celebration for the new mural on 14th Street in Oakland.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-2048x1639.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1920x1537.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drummers gather at a celebration for the new mural on 14th Street in Oakland. \u003ccite>(Rudi Tcruz and Galex Tcruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple blocks down from the location of the site of the previous mural, on the side of the \u003ca href=\"https://greenlining.org/?gclid=CjwKCAiA1aiMBhAUEiwACw25MbNayyyBrFf0DTmTvP6XMoVjjDk6eJKLCYNgCPH7y_LpXVuc66ElURoCvyEQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlining Institute\u003c/a>, now stands a new painting featuring some of the same artists as the previous piece, as well as the themes of housing justice, diversity and cultural arts.\u003c/p>\n\u003cp>As for the old mural, mummified by a new building? Maybe years, or decades from now it will see new light. But for now, all that’s visible are the names of the artists and the website where you can get more information about \u003ca href=\"https://www.alicestreetfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the film\u003c/a>—and the ongoing conversation about the arts, community and urban development.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alice Street’ screens Tuesday, Nov. 16, at the New Parkway in Oakland. \u003ca href=\"https://www.youtube.com/watch?v=1lJRPZLuY9c\" target=\"_blank\" rel=\"noopener noreferrer\">Trailer here\u003c/a>, and \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "'Alice Street,' about a years-in-the-making mural now obscured by new development, screens at the New Parkway in Oakland. ",
"status": "publish",
"parent": 0,
"modified": 1726759735,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 647
},
"headData": {
"title": "'Alice Street' Documents Oakland's Hidden Downtown Mural | KQED",
"description": "'Alice Street,' about a years-in-the-making mural now obscured by new development, screens at the New Parkway in Oakland. ",
"ogTitle": "A Film About Oakland's Most Important Mural That You Can't See",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A Film About Oakland's Most Important Mural That You Can't See",
"twDescription": "",
"twImgId": "",
"socialTitle": "'Alice Street' Documents Oakland's Hidden Downtown Mural %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Film About Oakland's Most Important Mural That You Can't See",
"datePublished": "2021-11-09T14:53:08-08:00",
"dateModified": "2024-09-19T08:28:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13905625/alice-street-mural-documentary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A mural stands in downtown Oakland that honors the city’s culture and history. It’s a giant artwork birthed out of years and years of community conversations and the artists’ commitment to the concept.\u003c/p>\n\u003cp>The problem is that nobody can see the mural. Not anymore, at least. Except for a small patch of paint poking from behind a barrier, the mural depicting Oakland’s culture is now completely blocked by a new six-story luxury high-rise.\u003c/p>\n\u003cp>The story of the mural, and its disappearance, is shown in the full-length documentary \u003ca href=\"https://www.instagram.com/p/CV_mXnkP8fz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Alice Street\u003c/em>\u003c/a>. On Tuesday, Nov. 16, as a part of the Berkeley Film Foundation’s documentary screening series, the film will be shown at Oakland’s \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">New Parkway Theatre\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13906006\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg\" alt=\"Artists marching to City Hall to make sure their voices are heard. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1020x678.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1536x1021.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-2048x1362.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1920x1277.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gathered and marched to City Hall to make sure their voices are heard. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artists \u003ca href=\"https://www.instagram.com/withoutmyego/\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Mundo\u003c/a> (founder of the \u003ca href=\"https://crpbayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Rejuvenation Project\u003c/a>) and \u003ca href=\"https://www.instagram.com/panchopescador/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Pescador\u003c/a> began the project over a decade ago. The process was documented, from idea to outline. There were community conferences and government gatherings, as well as critiques and criticisms from neighbors who felt like the theme—people of color pushing for resistance against oppressive forces—didn’t represent their experience.\u003c/p>\n\u003cp>Nearby cultural centers were also included. At 14th Street and Alice Street, right across the street from the mural, is the Malonga Casquelourd Center, a hub for African drumming and dance performances. On the other side sits Hotel Oakland, a residential and cultural space for older Asian folks. Elements from the two centers—both the physical design of the buildings and faces of the people who’ve graced those grounds—were incorporated into the artwork.\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 artists eventually created a mural covering four large walls of a sizable parking lot. But as the paint dried and the \u003ca href=\"https://www.kqed.org/arts/10139706/oaklands-newest-mural\" target=\"_blank\" rel=\"noopener noreferrer\">ribbon was cut in\u003c/a> August of 2014, a new development was being planned on that very spot.\u003c/p>\n\u003cfigure id=\"attachment_13906005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg\" alt=\"Performers playing instruments inside of Hotel Oakland.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1536x1061.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-2048x1415.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1920x1326.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers play instruments inside of Hotel Oakland. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited to highlight the artists and what’s happened since the documentary took place,” says film producer \u003ca href=\"https://linktr.ee/spenceriwilkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Spencer Wilkinson.\u003c/a>\u003c/p>\n\u003cp>He says the two lead artists on the project will be present for a post-screening dialogue on Nov. 16. They’ll be joined by drummer \u003ca href=\"https://actaonline.org/profile/kiazi-malonga/\" target=\"_blank\" rel=\"noopener noreferrer\">Kiazi Malonga\u003c/a>, son of the late world-renown artist Malonga Casquelourd and head of the \u003ca href=\"https://www.actaonline.org/profile/fua-dia-congo/\" target=\"_blank\" rel=\"noopener noreferrer\">Fua Dia Congo\u003c/a> performance group, as well as musician and poet \u003ca href=\"https://destinymuhammad.net/home\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad,\u003c/a> who is featured in the film asking the poignant question: “Is what’s coming better than what’s here?”\u003c/p>\n\u003cp>The film concludes with a note that individuals and community organizations such as the \u003ca href=\"https://www.ccedoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Coalition For Equitable Development (CCED)\u003c/a> have pushed for and received a set of community benefit agreements, which have led to more low-income housing, more parking—and, in addition to other agreements, they’ve been financially supported in the painting of a new mural.\u003c/p>\n\u003cfigure id=\"attachment_13906004\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg\" alt=\"Drummers gather at a celebration for the new mural on 14th Street in Oakland.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-2048x1639.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1920x1537.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drummers gather at a celebration for the new mural on 14th Street in Oakland. \u003ccite>(Rudi Tcruz and Galex Tcruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple blocks down from the location of the site of the previous mural, on the side of the \u003ca href=\"https://greenlining.org/?gclid=CjwKCAiA1aiMBhAUEiwACw25MbNayyyBrFf0DTmTvP6XMoVjjDk6eJKLCYNgCPH7y_LpXVuc66ElURoCvyEQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlining Institute\u003c/a>, now stands a new painting featuring some of the same artists as the previous piece, as well as the themes of housing justice, diversity and cultural arts.\u003c/p>\n\u003cp>As for the old mural, mummified by a new building? Maybe years, or decades from now it will see new light. But for now, all that’s visible are the names of the artists and the website where you can get more information about \u003ca href=\"https://www.alicestreetfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the film\u003c/a>—and the ongoing conversation about the arts, community and urban development.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alice Street’ screens Tuesday, Nov. 16, at the New Parkway in Oakland. \u003ca href=\"https://www.youtube.com/watch?v=1lJRPZLuY9c\" target=\"_blank\" rel=\"noopener noreferrer\">Trailer here\u003c/a>, and \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13905625/alice-street-mural-documentary",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_7821",
"arts_13672",
"arts_10342",
"arts_10278",
"arts_1332",
"arts_1737",
"arts_2196",
"arts_1143",
"arts_585"
],
"featImg": "arts_13906002",
"label": "arts_140"
},
"arts_13904188": {
"type": "posts",
"id": "arts_13904188",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13904188",
"score": null,
"sort": [
1633946428000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1633946428,
"format": "standard",
"title": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust",
"headTitle": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust | KQED",
"content": "\u003cp>What you get out of \u003cem>What Happened, Brittany Murphy?\u003c/em> depends entirely on how big a fan you are of the actress. The biggest fans—the ones who know her movies by heart, the ones who still pay her tribute annually, the ones who have long questioned the circumstances of her death—won’t learn a huge amount. But for folks who fell in love with Murphy in \u003cem>Clueless\u003c/em>, cheered her on in \u003cem>8 Mile\u003c/em>, and then wrote off her death as just another Hollywood tragedy, \u003cem>What Happened\u003c/em> is an emotional, often confounding, rollercoaster.\u003c/p>\n\u003cp>Crucially, at the end of this two-part documentary, viewers will be no clearer about why Brittany Murphy died. Of course, we’ve known since her 2009 passing that the cause of death was a combination of pneumonia, anemia and “multiple drug intoxication.” The reasons for her not receiving—or seeking out—medical assistance in the days before her death, however, remain incredibly murky. What is clear from various testimonies is that she almost certainly could have been saved had she made it to a hospital in time. \u003cem>What Happened\u003c/em> also manages to vividly paint a picture of the perfect storm that Murphy found herself in at the time of her death. Her physical and mental health were suffering, as was her career—the result of an overbearing husband and lack of real emotional support.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OaQvsFIB4Uw\u003c/p>\n\u003cp>\u003cem>What Happened\u003c/em> subjects Murphy’s husband Simon Monjack to intense scrutiny—and rightfully so. He is shown to be a pathological liar, a controlling partner, and a man who responded to his wife’s death in a variety of deeply inappropriate ways. Among other things, in the months after Murphy’s death, he posed for portraits with Murphy’s mother Sharon in a manner that made them look like a couple. He walked a reporter from \u003cem>People\u003c/em> magazine through Murphy’s scene of death in her cluttered bathroom, down to the exact position she was found in. He set up a website asking for financial contributions, then quickly took it down when people started asking questions. Various bombshell revelations about his past and the depth of his deceptions drop throughout the documentary.\u003c/p>\n\u003cp>[aside postid='arts_13903795']It’s impossible not to draw parallels—especially so soon after \u003cem>Britney vs Spears\u003c/em>, \u003cem>Controlling Britney Spears\u003c/em> and \u003cem>Framing Britney Spears\u003c/em>—between the way Jamie Spears treated his daughter and the way Monjack treated his wife. The financial benefits of Monjack marrying Murphy were huge—he is accused in the film of spending $3 million of her money in just three years. Like Spears, Murphy was also kept isolated by her male guardian, and became woefully reliant on him. Unlike Spears, Murphy never managed to navigate a path out. In a strange coincidence, Murphy died in a house that Spears sold to her in 2003.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other main object of scrutiny in \u003cem>What Happened\u003c/em> is the Hollywood system that subjects women to grotesquely restrictive beauty standards. Murphy is shown transforming from an excited wunderkind into a joyful teen starlet, and then an insecure woman, forced to alter her body, her hair and her style to appease casting agents. The film presents the tabloid press as complicit in this. It is remarkable to see a contrite Perez Hilton, looking back with regret at how his website mocked and dehumanized vulnerable celebrities, including Murphy, in the first decade of the 2000s.\u003c/p>\n\u003cp>\u003cem>What Happened\u003c/em> also, thankfully, finds time to remind viewers just how enormously talented Murphy was—making Hollywood’s focus on her appearance even more galling. In particular, clips of Murphy in \u003cem>Girl, Interrupted\u003c/em> hammer home her acting chops—and what we lost when she died.\u003c/p>\n\u003cp>[aside postid='arts_13903591']At the center of \u003cem>What Happened, Brittany Murphy?\u003c/em> is the codependent triumvirate of Brittany Murphy, Simon Monjack and Sharon Murphy. It’s fascinating and uncomfortable to witness their strange dynamic playing out in the documentary. Private photos Monjack took of Murphy at home are nothing less than chilling. It’s not a spoiler to say there isn’t a happy ending for any one of the three. \u003c/p>\n\u003cp>At its core, \u003cem>What Happened, Brittany Murphy?\u003c/em> is about wish fulfillment. It’s about what happens when unsuspecting people believe too much in fairytales. One gets the sense that Sharon and Brittany believed in—and craved—their own happily-ever-after so much, they didn’t stop to question who was offering it to them.\u003c/p>\n\u003cp>As the documentary points out, the strangeness of Murphy’s death is already a well-worn topic online, particularly among true crime vloggers. The value of \u003cem>What Happened, Brittany Murphy?\u003c/em> is in its ability to also remind you of her humanity, her talent, and just how tragic the end of her life was. It also serves as a reminder that good people don’t always get what they want or what they need. And that, sometimes, the very people assigned to protect them are the ones that ultimately do the most harm.\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>\u003c/p>\n\u003cp>\u003cem>‘What Happened, Brittany Murphy?’ begins streaming Thursday, Oct. 14, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/what-happened-brittany-murphy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 881,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705007632,
"excerpt": "The two-part HBO documentary vividly presents the joy, pain and near-constant whiplash of Murphy’s short life.",
"headData": {
"twImgId": "",
"twTitle": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust",
"socialTitle": "Review: ‘What Happened, Brittany Murphy?’ Documentary on HBO %%page%% %%sep%% KQED",
"ogTitle": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust",
"ogImgId": "",
"twDescription": "",
"description": "The two-part HBO documentary vividly presents the joy, pain and near-constant whiplash of Murphy’s short life.",
"title": "Review: ‘What Happened, Brittany Murphy?’ Documentary on HBO | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust",
"datePublished": "2021-10-11T03:00:28-07:00",
"dateModified": "2024-01-11T13:13:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "brittany-murphy-hbo-documentary-simon-monjack-sharon-murphy",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13904188/brittany-murphy-hbo-documentary-simon-monjack-sharon-murphy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What you get out of \u003cem>What Happened, Brittany Murphy?\u003c/em> depends entirely on how big a fan you are of the actress. The biggest fans—the ones who know her movies by heart, the ones who still pay her tribute annually, the ones who have long questioned the circumstances of her death—won’t learn a huge amount. But for folks who fell in love with Murphy in \u003cem>Clueless\u003c/em>, cheered her on in \u003cem>8 Mile\u003c/em>, and then wrote off her death as just another Hollywood tragedy, \u003cem>What Happened\u003c/em> is an emotional, often confounding, rollercoaster.\u003c/p>\n\u003cp>Crucially, at the end of this two-part documentary, viewers will be no clearer about why Brittany Murphy died. Of course, we’ve known since her 2009 passing that the cause of death was a combination of pneumonia, anemia and “multiple drug intoxication.” The reasons for her not receiving—or seeking out—medical assistance in the days before her death, however, remain incredibly murky. What is clear from various testimonies is that she almost certainly could have been saved had she made it to a hospital in time. \u003cem>What Happened\u003c/em> also manages to vividly paint a picture of the perfect storm that Murphy found herself in at the time of her death. Her physical and mental health were suffering, as was her career—the result of an overbearing husband and lack of real emotional support.\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/OaQvsFIB4Uw'\n title='//www.youtube.com/embed/OaQvsFIB4Uw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>What Happened\u003c/em> subjects Murphy’s husband Simon Monjack to intense scrutiny—and rightfully so. He is shown to be a pathological liar, a controlling partner, and a man who responded to his wife’s death in a variety of deeply inappropriate ways. Among other things, in the months after Murphy’s death, he posed for portraits with Murphy’s mother Sharon in a manner that made them look like a couple. He walked a reporter from \u003cem>People\u003c/em> magazine through Murphy’s scene of death in her cluttered bathroom, down to the exact position she was found in. He set up a website asking for financial contributions, then quickly took it down when people started asking questions. Various bombshell revelations about his past and the depth of his deceptions drop throughout the documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903795",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s impossible not to draw parallels—especially so soon after \u003cem>Britney vs Spears\u003c/em>, \u003cem>Controlling Britney Spears\u003c/em> and \u003cem>Framing Britney Spears\u003c/em>—between the way Jamie Spears treated his daughter and the way Monjack treated his wife. The financial benefits of Monjack marrying Murphy were huge—he is accused in the film of spending $3 million of her money in just three years. Like Spears, Murphy was also kept isolated by her male guardian, and became woefully reliant on him. Unlike Spears, Murphy never managed to navigate a path out. In a strange coincidence, Murphy died in a house that Spears sold to her in 2003.\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 other main object of scrutiny in \u003cem>What Happened\u003c/em> is the Hollywood system that subjects women to grotesquely restrictive beauty standards. Murphy is shown transforming from an excited wunderkind into a joyful teen starlet, and then an insecure woman, forced to alter her body, her hair and her style to appease casting agents. The film presents the tabloid press as complicit in this. It is remarkable to see a contrite Perez Hilton, looking back with regret at how his website mocked and dehumanized vulnerable celebrities, including Murphy, in the first decade of the 2000s.\u003c/p>\n\u003cp>\u003cem>What Happened\u003c/em> also, thankfully, finds time to remind viewers just how enormously talented Murphy was—making Hollywood’s focus on her appearance even more galling. In particular, clips of Murphy in \u003cem>Girl, Interrupted\u003c/em> hammer home her acting chops—and what we lost when she died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903591",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of \u003cem>What Happened, Brittany Murphy?\u003c/em> is the codependent triumvirate of Brittany Murphy, Simon Monjack and Sharon Murphy. It’s fascinating and uncomfortable to witness their strange dynamic playing out in the documentary. Private photos Monjack took of Murphy at home are nothing less than chilling. It’s not a spoiler to say there isn’t a happy ending for any one of the three. \u003c/p>\n\u003cp>At its core, \u003cem>What Happened, Brittany Murphy?\u003c/em> is about wish fulfillment. It’s about what happens when unsuspecting people believe too much in fairytales. One gets the sense that Sharon and Brittany believed in—and craved—their own happily-ever-after so much, they didn’t stop to question who was offering it to them.\u003c/p>\n\u003cp>As the documentary points out, the strangeness of Murphy’s death is already a well-worn topic online, particularly among true crime vloggers. The value of \u003cem>What Happened, Brittany Murphy?\u003c/em> is in its ability to also remind you of her humanity, her talent, and just how tragic the end of her life was. It also serves as a reminder that good people don’t always get what they want or what they need. And that, sometimes, the very people assigned to protect them are the ones that ultimately do the most harm.\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>\u003c/p>\n\u003cp>\u003cem>‘What Happened, Brittany Murphy?’ begins streaming Thursday, Oct. 14, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/what-happened-brittany-murphy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13904188/brittany-murphy-hbo-documentary-simon-monjack-sharon-murphy",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_10278",
"arts_8350",
"arts_8366"
],
"featImg": "arts_13904359",
"label": "arts"
},
"arts_13903591": {
"type": "posts",
"id": "arts_13903591",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903591",
"score": null,
"sort": [
1633366817000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1633366817,
"format": "standard",
"title": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"headTitle": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming | KQED",
"content": "\u003cp>In 2021, how you perceive online shaming campaigns often has a great deal to do with your political leanings. In the broadest of terms, if you fall on the right, it’s called “cancel culture”—a merciless, life-ruining takedown of fallible human beings. On the left, it’s called “consequence culture”—wrongdoers being held accountable for their own awful behavior. Now, a new documentary called \u003ci>\u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">15 Minutes of Shame\u003c/a>\u003c/i>—executive produced by Monica Lewinsky and directed by Max Joseph—is here to fill out the space in between. And it is a thoroughly enlightening, if anxiety-inducing, watch.\u003c/p>\n\u003cp>Lewinsky’s involvement here is key. In the film’s introduction, she refers to herself as “Patient Zero of having a reputation completely destroyed, worldwide, because of the internet.” And while that is an accurate assessment, \u003cem>15 Minutes\u003c/em> is not here to tell you the unfettered power of the internet is an exclusively bad thing. If anything, its end goal is to insert into these narratives the thing that is so often missing on the internet: humanity in all of its shades of gray.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhJrnNdH-aw\u003c/p>\n\u003cp>Like Jon Ronson’s excellent 2015 book, \u003cem>So You’ve Been Publicly Shamed\u003c/em>, \u003cem>15 Minutes\u003c/em> focuses not on humiliated celebrities, but rather a handful of everyday people whose lives have been decimated by their online characterizations. There’s Matt Colvin, \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guy who bought up 17,700 bottles of hand sanitizer\u003c/a> at the start of the pandemic. There’s Emmanuel Cafferty, a Latino employee of San Diego Gas and Electric who lost his job after a member of the public accused him of making a white power hand gesture. And there’s Laura Krolczyk, who, in a fit of frustration with COVID deniers, wrote on her Facebook page: “Trump supporters need to pledge to give up their ventilators for someone else.”\u003c/p>\n\u003cp>[aside postid='arts_10583072']The documentary allows each of these figures some space to explain themselves, but the point is not to vindicate them. The point is to take a deep dive into the cultural, social and psychological drivers behind internet take-downs. And it’s in those moments that \u003cem>15 Minutes\u003c/em> does its most interesting work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary sketches a fascinating “brief history of public shaming,” starting at the dawn of civilization, running through the introduction of the pillory, and then onto the invention of the printing press, tabloids and, finally, the internet. At one point, while talking about punishments doled out in town squares hundreds of years ago, cultural historian Dr. Tiffany Watt says: “This is a person who is suffering because they’ve done something wrong. And we have to punish them in order to tell everyone else not to do the same thing.” It’s clear in that moment the impulse to publicly shame is a thread that’s been present throughout history, and that the internet is merely the latest conduit for it.\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> excels when discussing the psychology behind internet pile-ons. UCSF neuroscientist and psychologist Dr. Helen Weng explains why it’s harder for our brains to recognize people as full humans when we can’t see their faces and body language. Watt shares that one study of soccer fans found they felt a greater sense of joy from seeing rival teams fail than they did from seeing their own teams score. “What that showed,” Watt notes, “is that we enjoy seeing other people fail more than we enjoy winning, ourselves.” Being divided into “rival tribes,” Watt adds, “is a very, very dangerous place for a society to be in.”\u003c/p>\n\u003cp>The cultural commentators throughout \u003cem>15 Minutes of Shame\u003c/em> offer up similarly thought-provoking analysis. Segments with Roxane Gay perfectly encapsulate the struggles of online discourse. On one hand, Gay talks about why fighting back online is so necessary. “People are so unseen and so unheard and they’ve been so unrepresented for so long, and you see something done about it. That is incredibly satisfying.” On the other hand, Gay acknowledges the deep flaws of the format. “People love to say … ‘I am not responsible for dehumanizing the person, the internet is,’” she notes. “The internet is there, but we are responsible for the ways in which we dehumanize each other.”\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> also takes the time to find out how tech companies are complicit in that dehumanization. Technology ethicist Tristan Harris, a former Google employee, explains: “One NYU study found that for every word of moral outrage—negative human emotions—that you added to a tweet … it increased the retweet rate by 13%.” Harris goes on to compare Twitter’s algorithm to rubbernecking. Its desire, he notes, is to feed us “car crash after car crash after car crash.”\u003c/p>\n\u003cp>[aside postid='arts_13902631']Ultimately, \u003cem>15 Minutes of Shame\u003c/em> is a documentary that, on the surface, seeks to capture our global online culture at this time and in this place. But it also contextualizes how we got here and, importantly, makes some suggestions as to how we can get better at handling it.\u003c/p>\n\u003cp>Lewinsky bookends the film with a single proposition: “Imagine waking up one morning with the whole world suddenly knowing your name.” But, at the end of the 86-minute film, she adds a question. “What kind of world do you want that to be?” You’ll have a much better idea after watching \u003cem>15 Minutes of Shame\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\n\u003cp>\u003cem>‘15 Minutes of Shame’ begins streaming Thursday, Oct. 7, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 978,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705007663,
"excerpt": "The Monica Lewinsky-produced documentary examines the root causes of our fractious modern obsession.",
"headData": {
"twImgId": "",
"twTitle": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"socialTitle": "Review: HBO’s ‘15 Minutes of Shame’ %%page%% %%sep%% KQED",
"ogTitle": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"ogImgId": "",
"twDescription": "",
"description": "The Monica Lewinsky-produced documentary examines the root causes of our fractious modern obsession.",
"title": "Review: HBO’s ‘15 Minutes of Shame’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"datePublished": "2021-10-04T10:00:17-07:00",
"dateModified": "2024-01-11T13:14:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hbo-15-minutes-of-shame-monica-lewinsky",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13903591/hbo-15-minutes-of-shame-monica-lewinsky",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2021, how you perceive online shaming campaigns often has a great deal to do with your political leanings. In the broadest of terms, if you fall on the right, it’s called “cancel culture”—a merciless, life-ruining takedown of fallible human beings. On the left, it’s called “consequence culture”—wrongdoers being held accountable for their own awful behavior. Now, a new documentary called \u003ci>\u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">15 Minutes of Shame\u003c/a>\u003c/i>—executive produced by Monica Lewinsky and directed by Max Joseph—is here to fill out the space in between. And it is a thoroughly enlightening, if anxiety-inducing, watch.\u003c/p>\n\u003cp>Lewinsky’s involvement here is key. In the film’s introduction, she refers to herself as “Patient Zero of having a reputation completely destroyed, worldwide, because of the internet.” And while that is an accurate assessment, \u003cem>15 Minutes\u003c/em> is not here to tell you the unfettered power of the internet is an exclusively bad thing. If anything, its end goal is to insert into these narratives the thing that is so often missing on the internet: humanity in all of its shades of gray.\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/dhJrnNdH-aw'\n title='//www.youtube.com/embed/dhJrnNdH-aw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Jon Ronson’s excellent 2015 book, \u003cem>So You’ve Been Publicly Shamed\u003c/em>, \u003cem>15 Minutes\u003c/em> focuses not on humiliated celebrities, but rather a handful of everyday people whose lives have been decimated by their online characterizations. There’s Matt Colvin, \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guy who bought up 17,700 bottles of hand sanitizer\u003c/a> at the start of the pandemic. There’s Emmanuel Cafferty, a Latino employee of San Diego Gas and Electric who lost his job after a member of the public accused him of making a white power hand gesture. And there’s Laura Krolczyk, who, in a fit of frustration with COVID deniers, wrote on her Facebook page: “Trump supporters need to pledge to give up their ventilators for someone else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10583072",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary allows each of these figures some space to explain themselves, but the point is not to vindicate them. The point is to take a deep dive into the cultural, social and psychological drivers behind internet take-downs. And it’s in those moments that \u003cem>15 Minutes\u003c/em> does its most interesting work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary sketches a fascinating “brief history of public shaming,” starting at the dawn of civilization, running through the introduction of the pillory, and then onto the invention of the printing press, tabloids and, finally, the internet. At one point, while talking about punishments doled out in town squares hundreds of years ago, cultural historian Dr. Tiffany Watt says: “This is a person who is suffering because they’ve done something wrong. And we have to punish them in order to tell everyone else not to do the same thing.” It’s clear in that moment the impulse to publicly shame is a thread that’s been present throughout history, and that the internet is merely the latest conduit for it.\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> excels when discussing the psychology behind internet pile-ons. UCSF neuroscientist and psychologist Dr. Helen Weng explains why it’s harder for our brains to recognize people as full humans when we can’t see their faces and body language. Watt shares that one study of soccer fans found they felt a greater sense of joy from seeing rival teams fail than they did from seeing their own teams score. “What that showed,” Watt notes, “is that we enjoy seeing other people fail more than we enjoy winning, ourselves.” Being divided into “rival tribes,” Watt adds, “is a very, very dangerous place for a society to be in.”\u003c/p>\n\u003cp>The cultural commentators throughout \u003cem>15 Minutes of Shame\u003c/em> offer up similarly thought-provoking analysis. Segments with Roxane Gay perfectly encapsulate the struggles of online discourse. On one hand, Gay talks about why fighting back online is so necessary. “People are so unseen and so unheard and they’ve been so unrepresented for so long, and you see something done about it. That is incredibly satisfying.” On the other hand, Gay acknowledges the deep flaws of the format. “People love to say … ‘I am not responsible for dehumanizing the person, the internet is,’” she notes. “The internet is there, but we are responsible for the ways in which we dehumanize each other.”\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> also takes the time to find out how tech companies are complicit in that dehumanization. Technology ethicist Tristan Harris, a former Google employee, explains: “One NYU study found that for every word of moral outrage—negative human emotions—that you added to a tweet … it increased the retweet rate by 13%.” Harris goes on to compare Twitter’s algorithm to rubbernecking. Its desire, he notes, is to feed us “car crash after car crash after car crash.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902631",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, \u003cem>15 Minutes of Shame\u003c/em> is a documentary that, on the surface, seeks to capture our global online culture at this time and in this place. But it also contextualizes how we got here and, importantly, makes some suggestions as to how we can get better at handling it.\u003c/p>\n\u003cp>Lewinsky bookends the film with a single proposition: “Imagine waking up one morning with the whole world suddenly knowing your name.” But, at the end of the 86-minute film, she adds a question. “What kind of world do you want that to be?” You’ll have a much better idea after watching \u003cem>15 Minutes of Shame\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\n\u003cp>\u003cem>‘15 Minutes of Shame’ begins streaming Thursday, Oct. 7, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903591/hbo-15-minutes-of-shame-monica-lewinsky",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_1934",
"arts_10278",
"arts_2304",
"arts_8350",
"arts_2137",
"arts_1553"
],
"featImg": "arts_13903994",
"label": "arts"
},
"arts_13902109": {
"type": "posts",
"id": "arts_13902109",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902109",
"score": null,
"sort": [
1630346460000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1630346460,
"format": "standard",
"title": "Bob Ross Documentary Filmmakers Ran Into Some Happy Little Legal Hurdles",
"headTitle": "Bob Ross Documentary Filmmakers Ran Into Some Happy Little Legal Hurdles | KQED",
"content": "\u003cp>Bob Ross—the artist known for his calm voice, poofy hair and unflappable demeanor—spent 31 seasons gently encouraging at-home artists to pick up their palettes to paint serene landscapes and “happy little trees.”\u003c/p>\n\u003cp>Actor Melissa McCarthy and her husband, filmmaker Ben Falcone, were big fans of Ross and decided to produce a documentary about his life. But as they began working on the project with filmmakers Joshua Rofé and Steven Berger, they quickly realized their subject—and the legacy he left behind—was more complex than they knew.\u003c/p>\n\u003cp>[aside postid='arts_13867846']From the outset, the filmmakers found that very few people were willing to speak with them about Ross, for fear of litigation by the owners of his estate. McCarthy says Rofé and Berger told her they had rarely encountered such hesitancy and refusal.\u003c/p>\n\u003cp>“That was when we sort of figured out, oh, boy, this might be a little different than what we thought it was going to be,” Falcone says.\u003c/p>\n\u003cp>“When someone is an artist, no matter what their medium is … there’s a business behind it,” McCarthy says. “And I would venture to guess that business is always much more complicated than the personality that they lead with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the legal roadblocks, McCarthy and Falcone moved ahead with the film—\u003cem>Bob Ross: Happy Accidents, Betrayal & Greed \u003c/em>was released on Netflix on August 25.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6JuA4qNU30\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the success of the Bob Ross brand, past and present\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It was pretty huge and actually it continues to be so amidst the confines of a pandemic.\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>Way before we started the documentary, Ben’s mom gave us a toaster that literally burns the impression of Bob Ross into our toast because we liked him so much.\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Bob became kind of a rock star of his time … this guy who just had sort of a simple beginning, he really reached the top of a field that nobody even really knew was that much of a field. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>His range was very unusual. I can’t think of someone else that was enjoyed by people across such a wide spectrum.\u003c/p>\n\u003cp>\u003cstrong>On what they learned about Ross as a person\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> If you do a quick Google search, what you’ll know is that he was in the military. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy:\u003c/strong> He said when he left the army, that was the last time he wanted to raise his voice.\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It’s harder to know exactly what went on in this man’s life. But I was happy to find out that he was very levelheaded. He seemed like he was kind to everybody. But he also knew exactly what he wanted as an artist and what he wanted his show to be.\u003c/p>\n\u003cp>\u003cstrong>On Ross’ business partners, Annette and Walter Kowalski, who were instrumental in building up the show and the artist, and who now lead Bob Ross Inc., despite litigation with Ross’ family\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Who owns it is basically the disagreement. …\u003c/p>\n\u003cp>[aside postid='pop_34351']\u003cstrong>McCarthy:\u003c/strong> Bob certainly wanted it to go to—most of the business—to his son. He left it to his son and his brother. And very quickly, that was kind of taken through litigation. And because at the time [Bob’s son] Steve was so young, Bob thought, you know, let’s have an adult still guiding him with where he’s going to take this company. … But he didn’t get to take hold of it at all.\u003c/p>\n\u003cp>\u003cstrong>On the challenge of making a film while being worried about a lawsuit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>That was why so many people didn’t want to speak to the filmmakers. Everyone’s afraid of getting sued. So, it’s definitely challenging. … Even as we’re having this discussion with you now, we’ve been kind of warned to keep to the basics, try not to get too into it because we will get sued.\u003c/p>\n\u003cp>\u003cstrong>On how Bob Ross comes across in the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> We’ve never intended to set out and create a hit piece. We liked Bob Ross and we still do. We were surprised to uncover some of the things we uncovered. And I think the filmmakers, Josh and Steven, really did a nice job of making kind of a complicated, balanced movie out of a character that is complicated. We found out things about him that we didn’t expect. Nobody’s perfect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jonaki Mehta and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Bob+Ross+Documentary+Filmmakers+Ran+Into+Some+Happy+Little+Legal+Hurdles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 810,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705007880,
"excerpt": "Melissa McCarthy and Ben Falcone found it difficult to land interviews about the painter—people were scared of being sued.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Melissa McCarthy and Ben Falcone found it difficult to land interviews about the painter—people were scared of being sued.",
"title": "Bob Ross Documentary Filmmakers Ran Into Some Happy Little Legal Hurdles | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bob Ross Documentary Filmmakers Ran Into Some Happy Little Legal Hurdles",
"datePublished": "2021-08-30T11:01:00-07:00",
"dateModified": "2024-01-11T13:18:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bob-ross-documentary-filmmakers-ran-into-some-happy-little-legal-hurdles",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1028128954&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 25 Aug 2021 19:37:21 -0400",
"nprLastModifiedDate": "Wed, 25 Aug 2021 20:00:08 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/25/1028128954/bob-ross-documentary-netflix-melissa-mccarthy-bob-falcone?ft=nprml&f=1028128954",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/08/20210825_atc_bob_ross_documentary_filmmakers_ran_into_some_happy_little_legal_hurdles.mp3?orgId=1&topicId=1137&d=469&p=2&story=1028128954&ft=nprml&f=1028128954",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/11031067191-cfd429.m3u?orgId=1&topicId=1137&d=469&p=2&story=1028128954&ft=nprml&f=1028128954",
"nprStoryId": "1028128954",
"nprByline": "Sarah Handel",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 25 Aug 2021 20:00:00 -0400",
"path": "/arts/13902109/bob-ross-documentary-filmmakers-ran-into-some-happy-little-legal-hurdles",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/08/20210825_atc_bob_ross_documentary_filmmakers_ran_into_some_happy_little_legal_hurdles.mp3?orgId=1&topicId=1137&d=469&p=2&story=1028128954&ft=nprml&f=1028128954",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Ross—the artist known for his calm voice, poofy hair and unflappable demeanor—spent 31 seasons gently encouraging at-home artists to pick up their palettes to paint serene landscapes and “happy little trees.”\u003c/p>\n\u003cp>Actor Melissa McCarthy and her husband, filmmaker Ben Falcone, were big fans of Ross and decided to produce a documentary about his life. But as they began working on the project with filmmakers Joshua Rofé and Steven Berger, they quickly realized their subject—and the legacy he left behind—was more complex than they knew.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13867846",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>From the outset, the filmmakers found that very few people were willing to speak with them about Ross, for fear of litigation by the owners of his estate. McCarthy says Rofé and Berger told her they had rarely encountered such hesitancy and refusal.\u003c/p>\n\u003cp>“That was when we sort of figured out, oh, boy, this might be a little different than what we thought it was going to be,” Falcone says.\u003c/p>\n\u003cp>“When someone is an artist, no matter what their medium is … there’s a business behind it,” McCarthy says. “And I would venture to guess that business is always much more complicated than the personality that they lead with.”\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>Despite the legal roadblocks, McCarthy and Falcone moved ahead with the film—\u003cem>Bob Ross: Happy Accidents, Betrayal & Greed \u003c/em>was released on Netflix on August 25.\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/J6JuA4qNU30'\n title='//www.youtube.com/embed/J6JuA4qNU30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the success of the Bob Ross brand, past and present\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It was pretty huge and actually it continues to be so amidst the confines of a pandemic.\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>Way before we started the documentary, Ben’s mom gave us a toaster that literally burns the impression of Bob Ross into our toast because we liked him so much.\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Bob became kind of a rock star of his time … this guy who just had sort of a simple beginning, he really reached the top of a field that nobody even really knew was that much of a field. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>His range was very unusual. I can’t think of someone else that was enjoyed by people across such a wide spectrum.\u003c/p>\n\u003cp>\u003cstrong>On what they learned about Ross as a person\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> If you do a quick Google search, what you’ll know is that he was in the military. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy:\u003c/strong> He said when he left the army, that was the last time he wanted to raise his voice.\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It’s harder to know exactly what went on in this man’s life. But I was happy to find out that he was very levelheaded. He seemed like he was kind to everybody. But he also knew exactly what he wanted as an artist and what he wanted his show to be.\u003c/p>\n\u003cp>\u003cstrong>On Ross’ business partners, Annette and Walter Kowalski, who were instrumental in building up the show and the artist, and who now lead Bob Ross Inc., despite litigation with Ross’ family\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Who owns it is basically the disagreement. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_34351",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>McCarthy:\u003c/strong> Bob certainly wanted it to go to—most of the business—to his son. He left it to his son and his brother. And very quickly, that was kind of taken through litigation. And because at the time [Bob’s son] Steve was so young, Bob thought, you know, let’s have an adult still guiding him with where he’s going to take this company. … But he didn’t get to take hold of it at all.\u003c/p>\n\u003cp>\u003cstrong>On the challenge of making a film while being worried about a lawsuit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>That was why so many people didn’t want to speak to the filmmakers. Everyone’s afraid of getting sued. So, it’s definitely challenging. … Even as we’re having this discussion with you now, we’ve been kind of warned to keep to the basics, try not to get too into it because we will get sued.\u003c/p>\n\u003cp>\u003cstrong>On how Bob Ross comes across in the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> We’ve never intended to set out and create a hit piece. We liked Bob Ross and we still do. We were surprised to uncover some of the things we uncovered. And I think the filmmakers, Josh and Steven, really did a nice job of making kind of a complicated, balanced movie out of a character that is complicated. We found out things about him that we didn’t expect. Nobody’s perfect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jonaki Mehta and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Bob+Ross+Documentary+Filmmakers+Ran+Into+Some+Happy+Little+Legal+Hurdles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902109/bob-ross-documentary-filmmakers-ran-into-some-happy-little-legal-hurdles",
"authors": [
"byline_arts_13902109"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_13672",
"arts_901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902110",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=documentaries": {
"isFetching": false,
"latestQuery": {
"from": 144,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 205,
"relation": "eq"
},
"items": [
"arts_13908266",
"arts_13908689",
"arts_13906331",
"arts_13908383",
"arts_13908259",
"arts_13906579",
"arts_13906340",
"arts_13905745",
"arts_13905625",
"arts_13904188",
"arts_13903591",
"arts_13902109"
],
"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_documentaries": {
"isLoading": true
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_9124": {
"type": "terms",
"id": "arts_9124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9124",
"found": true
},
"relationships": {},
"name": "Animals",
"slug": "animals",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Animals | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 9136,
"isLoading": false,
"link": "/arts/tag/animals"
},
"arts_9340": {
"type": "terms",
"id": "arts_9340",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9340",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cats",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cats Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9352,
"slug": "cats",
"isLoading": false,
"link": "/arts/tag/cats"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_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_4417": {
"type": "terms",
"id": "arts_4417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "janet jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "janet jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4429,
"slug": "janet-jackson",
"isLoading": false,
"link": "/arts/tag/janet-jackson"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"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_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_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_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_8530": {
"type": "terms",
"id": "arts_8530",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8530",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1970s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1970s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8542,
"slug": "1970s",
"isLoading": false,
"link": "/arts/tag/1970s"
},
"arts_16380": {
"type": "terms",
"id": "arts_16380",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16380",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Neneh Cherry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Neneh Cherry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16392,
"slug": "neneh-cherry",
"isLoading": false,
"link": "/arts/tag/neneh-cherry"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_9693": {
"type": "terms",
"id": "arts_9693",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9693",
"found": true
},
"relationships": {},
"featImg": null,
"name": "disability",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "disability Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9705,
"slug": "disability",
"isLoading": false,
"link": "/arts/tag/disability"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"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_11853": {
"type": "terms",
"id": "arts_11853",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11853",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sundance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sundance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11865,
"slug": "sundance",
"isLoading": false,
"link": "/arts/tag/sundance"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_10772": {
"type": "terms",
"id": "arts_10772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10772",
"found": true
},
"relationships": {},
"name": "1950s",
"slug": "1950s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1950s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 10784,
"isLoading": false,
"link": "/arts/tag/1950s"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_8393": {
"type": "terms",
"id": "arts_8393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hollywood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hollywood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8405,
"slug": "hollywood",
"isLoading": false,
"link": "/arts/tag/hollywood"
},
"arts_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_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_8481": {
"type": "terms",
"id": "arts_8481",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8481",
"found": true
},
"relationships": {},
"featImg": null,
"name": "CBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "CBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8493,
"slug": "cbs",
"isLoading": false,
"link": "/arts/tag/cbs"
},
"arts_8416": {
"type": "terms",
"id": "arts_8416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mtv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mtv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8428,
"slug": "mtv",
"isLoading": false,
"link": "/arts/tag/mtv"
},
"arts_6125": {
"type": "terms",
"id": "arts_6125",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6125",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new york times",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new york times Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6137,
"slug": "new-york-times",
"isLoading": false,
"link": "/arts/tag/new-york-times"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_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_8054": {
"type": "terms",
"id": "arts_8054",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8054",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1990s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1990s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8066,
"slug": "1990s",
"isLoading": false,
"link": "/arts/tag/1990s"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_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_7821": {
"type": "terms",
"id": "arts_7821",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7821",
"found": true
},
"relationships": {},
"featImg": null,
"name": "desi mundo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "desi mundo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7833,
"slug": "desi-mundo",
"isLoading": false,
"link": "/arts/tag/desi-mundo"
},
"arts_1332": {
"type": "terms",
"id": "arts_1332",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1332",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gentrification",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gentrification Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1344,
"slug": "gentrification",
"isLoading": false,
"link": "/arts/tag/gentrification"
},
"arts_1737": {
"type": "terms",
"id": "arts_1737",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1737",
"found": true
},
"relationships": {},
"featImg": null,
"name": "murals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "murals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1749,
"slug": "murals",
"isLoading": false,
"link": "/arts/tag/murals"
},
"arts_2196": {
"type": "terms",
"id": "arts_2196",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2196",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New Parkway",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New Parkway Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2208,
"slug": "new-parkway",
"isLoading": false,
"link": "/arts/tag/new-parkway"
},
"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_8366": {
"type": "terms",
"id": "arts_8366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "true crime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "true crime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8378,
"slug": "true-crime",
"isLoading": false,
"link": "/arts/tag/true-crime"
},
"arts_1934": {
"type": "terms",
"id": "arts_1934",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1934",
"found": true
},
"relationships": {},
"featImg": null,
"name": "facebook",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "facebook Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1946,
"slug": "facebook",
"isLoading": false,
"link": "/arts/tag/facebook"
},
"arts_2304": {
"type": "terms",
"id": "arts_2304",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2304",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Google",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Google Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2316,
"slug": "google",
"isLoading": false,
"link": "/arts/tag/google"
},
"arts_2137": {
"type": "terms",
"id": "arts_2137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2137",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social media",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social media Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2149,
"slug": "social-media",
"isLoading": false,
"link": "/arts/tag/social-media"
},
"arts_1553": {
"type": "terms",
"id": "arts_1553",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1553",
"found": true
},
"relationships": {},
"featImg": null,
"name": "twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1565,
"slug": "twitter",
"isLoading": false,
"link": "/arts/tag/twitter"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}