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_13919210": {
"type": "attachments",
"id": "arts_13919210",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13919210",
"found": true
},
"parent": 13919209,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-scaled-e1663275475720.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/s05667-76f7e8341cb68a27f6d5d7ae6a34c2aa33fcc57e-1-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1663274812,
"modified": 1663275547,
"caption": "Ken Burns' new three-part documentary, 'The U.S. and the Holocaust,' explores what everyday Americans knew—or didn't know—about what the Nazis were doing in Europe. Above, a tenant farmer reads a newspaper in Creek County, Okla., in February 1940.",
"description": null,
"title": "Ken Burns' new three-part documentary, 'The U.S. and the Holocaust,' explores what everyday Americans knew—or didn't know—about what the Nazis were doing in Europe. Above, a tenant farmer reads a newspaper in Creek County, Okla., in February 1940.",
"credit": "1940/Library of Congress",
"status": "inherit",
"altTag": null,
"fetchFailed": false,
"isLoading": false
},
"arts_13901153": {
"type": "attachments",
"id": "arts_13901153",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901153",
"found": true
},
"parent": 13901152,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-160x106.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-scaled-e1628793518202.jpe",
"width": 1920,
"height": 1267
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-2048x1351.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1351
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-1020x673.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 673
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-1536x1014.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1014
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-1920x1267.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1267
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-800x528.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 528
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/justinaltman_kenburns_custom-fe961b12ebe893fd49303abaf84043b06e17b029-768x507.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 507
}
},
"publishDate": 1628792036,
"modified": 1628793555,
"caption": "Filmmaker Ken Burns has produced and directed historical documentaries for more than 30 years. In March, 140 documentary filmmakers signed a letter to PBS executives, suggesting the service may provide an unfair level of support to white creators.",
"description": "Filmmaker Ken Burns has produced and directed historical documentaries for more than 30 years. In March, 140 documentary filmmakers signed a letter to PBS executives, suggesting the service may provide an unfair level of support to white creators.",
"title": "Filmmaker Ken Burns has produced and directed historical documentaries for more than 30 years. In March, 140 documentary filmmakers signed a letter to PBS executives, suggesting the service may provide an unfair level of support to white creators.",
"credit": "Justin Altman/PBS",
"status": "inherit",
"altTag": "Filmmaker Ken Burns has produced and directed historical documentaries for more than 30 years. In March, 140 documentary filmmakers signed a letter to PBS executives, suggesting the service may provide an unfair level of support to white creators.",
"fetchFailed": false,
"isLoading": false
},
"arts_13894918": {
"type": "attachments",
"id": "arts_13894918",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13894918",
"found": true
},
"parent": 13894917,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-scaled-e1617214933502.jpg",
"width": 1920,
"height": 1079
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-2048x1150.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1150
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-1536x863.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 863
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1164997349_wide-01f2ed776b728ef0a717092829a2090611d6d4cd-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
}
},
"publishDate": 1617214272,
"modified": 1617214964,
"caption": "Ken Burns speaks during the PBS segment of the Summer 2019 Television Critics Association Press Tour.",
"description": "Ken Burns speaks during the PBS segment of the Summer 2019 Television Critics Association Press Tour.",
"title": "Ken Burns speaks during the PBS segment of the Summer 2019 Television Critics Association Press Tour.",
"credit": "Amy Sussman/Getty Images",
"status": "inherit",
"altTag": "Ken Burns speaks during the PBS segment of the Summer 2019 Television Critics Association Press Tour.",
"fetchFailed": false,
"isLoading": false
},
"arts_13894864": {
"type": "attachments",
"id": "arts_13894864",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13894864",
"found": true
},
"parent": 13894863,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-scaled-e1617147551956.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-514896254_wide-1a377de9ce891707d170d2876bf74d848a67e751-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1617147012,
"modified": 1617147659,
"caption": "Ken Burns' three-part documentary about American writer Ernest Hemingway (shown above) premieres on PBS, April 5.",
"description": "Ken Burns' three-part documentary about American writer Ernest Hemingway (shown above) premieres on PBS, April 5.",
"title": "Ken Burns' three-part documentary about American writer Ernest Hemingway (shown above) premieres on PBS, April 5.",
"credit": "Bettmann Archive/Getty Images",
"status": "inherit",
"altTag": "A photo of Ernest Hemingway, with beard. Ken Burns' three-part documentary about American writer Ernest Hemingway (shown above) premieres on PBS, April 5.",
"fetchFailed": false,
"isLoading": false
},
"arts_13866519": {
"type": "attachments",
"id": "arts_13866519",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13866519",
"found": true
},
"parent": 13866441,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2.jpg",
"width": 1020,
"height": 574
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/CountryMusic.Charley.Hank_2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568694612,
"modified": 1568694627,
"caption": "Hank Williams, Jr. and Charley Pride (L–R) both appear in Ken Burns' new documentary, 'Country Music.' Like many country stars, Williams' famous father learned from black musicians; Pride, however, remains one of the very few black stars in the music's history. ",
"description": "Hank Williams, Jr. and Charley Pride (L–R) both appear in Ken Burns' new documentary, 'Country Music.' Like many country stars, Williams' famous father learned from black musicians; Pride, however, remains one of the very few black stars in the music's history. ",
"title": "CountryMusic.Charley.Hank_2",
"credit": "Chip Somodevilla / Erika Goldring / Getty Images",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13862150": {
"type": "attachments",
"id": "arts_13862150",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862150",
"found": true
},
"parent": 13866441,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564079092,
"modified": 1568652697,
"caption": "Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.",
"description": "Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.",
"title": "KenBurns.GabeMeline",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13862097": {
"type": "attachments",
"id": "arts_13862097",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862097",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/IMG_1789-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564015458,
"modified": 1564015583,
"caption": "L to R: Ken Burns, Julie Dunfey, Rahsaan Thomas and Dayton Duncan on stage at San Quentin State Prison.",
"description": "L to R: Ken Burns, Julie Dunfey, Rahsaan Thomas and Dayton Duncan on stage at San Quentin State Prison.",
"title": "IMG_1789",
"credit": "Geraldine Montes/KQED",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13858682": {
"type": "attachments",
"id": "arts_13858682",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13858682",
"found": true
},
"parent": 13858679,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/Burns.CountryMusic.Main_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1559326283,
"modified": 1559326283,
"caption": null,
"description": null,
"title": "Burns.CountryMusic.Main",
"credit": null,
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13791629": {
"type": "attachments",
"id": "arts_13791629",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13791629",
"found": true
},
"parent": 13790473,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-520x292.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-960x540.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-375x211.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820.jpeg",
"width": 1261,
"height": 709
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-1020x573.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-1180x663.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-1180x663.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/S2773jpg-e1504298074820-240x135.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1501651304,
"modified": 1501651614,
"caption": "Marines marching in Danang, March 15, 1965",
"description": "Marines marching in Danang",
"title": "S2773jpg",
"credit": "Courtesy of Associated Press",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"byline_arts_13919209": {
"type": "authors",
"id": "byline_arts_13919209",
"meta": {
"override": true
},
"slug": "byline_arts_13919209",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13901152": {
"type": "authors",
"id": "byline_arts_13901152",
"meta": {
"override": true
},
"slug": "byline_arts_13901152",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13894917": {
"type": "authors",
"id": "byline_arts_13894917",
"meta": {
"override": true
},
"slug": "byline_arts_13894917",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13894863": {
"type": "authors",
"id": "byline_arts_13894863",
"meta": {
"override": true
},
"slug": "byline_arts_13894863",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13858679": {
"type": "authors",
"id": "byline_arts_13858679",
"meta": {
"override": true
},
"slug": "byline_arts_13858679",
"name": "Peter Cavagnaro",
"isLoading": false
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "gmeline",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"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_13919209": {
"type": "posts",
"id": "arts_13919209",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13919209",
"score": null,
"sort": [
1663275903000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1663275903,
"format": "standard",
"title": "Ken Burns Connects the Past and the Present in 'The U.S. and the Holocaust'",
"headTitle": "Ken Burns Connects the Past and the Present in ‘The U.S. and the Holocaust’ | KQED",
"content": "\u003cp>In his newest documentary series, \u003cem>The U.S. and the Holocaust,\u003c/em> Ken Burns and his collaborators are revisiting some very familiar ground. Geoffrey C. Ward, who wrote the script for this new series, also wrote the Burns epic documentaries \u003ca href=\"https://www.npr.org/2007/09/18/14496870/ken-burns-releases-the-war\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The War\u003c/em>\u003c/a>, about World War II, and \u003ca href=\"https://www.npr.org/2014/09/10/347276638/three-roosevelts-come-alive-in-pbs-documentary-ken-burns-best-yet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Roosevelts: An Intimate History\u003c/em>\u003c/a>, in which Franklin and Eleanor Roosevelt figured prominently, as they do here. And Ward wrote \u003cem>The Civil War, \u003c/em>which put Ken Burns on the map in the first place.\u003c/p>\n\u003cp>[aside postid='arts_13917075']More than 30 years later, the structure and methods of a Ken Burns production are so familiar as to be almost comforting, and\u003cem> The U.S. and the Holocaust \u003c/em>employs them all. There are celebrity voices reading the words of historical figures—this time, the voices include Meryl Streep, Paul Giamatti, Liam Neeson and Werner Herzog. Photographs are used patiently and poetically, revealing new elements as they pan and zoom in and out. Music and sound effects make every moment both more real and more emotional. And a Ken Burns documentary series always starts with a clear-cut summary of things to come—provided, this time, by frequent Burns narrator Peter Coyote.\u003c/p>\n\u003cp>\u003cem>The U.S. and the Holocaust,\u003c/em> like many Ken Burns history projects, examines his subject from the bottom up. Instead of interviewing military experts, he talks to survivors or their relatives. When historians and other experts are heard from, they discuss events from that same perspective. In this case, they try to understand, and explain, what it was like to endure Nazi atrocities—or even to believe that they were happening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VCffe1USg18\u003c/p>\n\u003cp>The documentary spends a great deal of time delving into the intricacies of national politics—not only in Germany, where Adolf Hitler rose from prison to dictatorial power, but in America, where waves of isolationism kept the U.S. out of the war for years. It shows that most everyday Americans were not unaware of what the Nazis were doing in Europe. Throughout the documentary, we see newspaper headlines proving that the facts indeed were out there. Yet they were questioned by many, until after the war, when concentration camps were liberated and their atrocities documented.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13914530']The opening installment, which premiers on Sept. 18, stops in the year 1938, and part two goes up to 1942. The concluding two hours cover the end of World War II, and its aftermath—the formation of Israel, the Nuremberg war trials, even the invention and introduction of the word “genocide.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s not until the final five minutes that the story is brought fully up to date. But those final sounds and images that conclude \u003cem>The U.S. and the Holocaust\u003c/em>—scenes with which we’re all too familiar, of hate crimes and hate-filled marches—connect the past to the present without Coyote, or anyone else, having to say a word. Once again, Burns and company have made history come to life—and reminded us that our life, right now, is indeed history in the making.\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=Ken+Burns+connects+the+past+and+the+present+in+%27The+U.S.+and+the+Holocaust%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 534,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705006376,
"excerpt": "Burns' new six-hour series brings World War II history to life—and puts U.S. isolationism under the microscope. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Burns' new six-hour series brings World War II history to life—and puts U.S. isolationism under the microscope. ",
"title": "Ken Burns Connects the Past and the Present in 'The U.S. and the Holocaust' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ken Burns Connects the Past and the Present in 'The U.S. and the Holocaust'",
"datePublished": "2022-09-15T14:05:03-07:00",
"dateModified": "2024-01-11T12:52:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ken-burns-connects-the-past-and-the-present-in-the-u-s-and-the-holocaust",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1123134723&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 15 Sep 2022 11:54:59 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 15 Sep 2022 11:55:21 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/09/15/1123134723/ken-burns-the-u-s-and-the-holocaust-review-history-wwii?ft=nprml&f=1123134723",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/09/20220915_fa_02.mp3?orgId=427869011&topicId=1163&d=421&p=13&story=1123134723&ft=nprml&f=1123134723",
"nprImageAgency": "Library of Congress",
"nprAudioM3u": "http://api.npr.org/m3u/11123208479-8150b6.m3u?orgId=427869011&topicId=1163&d=421&p=13&story=1123134723&ft=nprml&f=1123134723",
"nprStoryId": "1123134723",
"nprByline": "David Bianculli",
"sticky": false,
"nprImageCredit": "1940",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 15 Sep 2022 13:26:00 -0400",
"path": "/arts/13919209/ken-burns-connects-the-past-and-the-present-in-the-u-s-and-the-holocaust",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/09/20220915_fa_02.mp3?orgId=427869011&topicId=1163&d=421&p=13&story=1123134723&ft=nprml&f=1123134723",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his newest documentary series, \u003cem>The U.S. and the Holocaust,\u003c/em> Ken Burns and his collaborators are revisiting some very familiar ground. Geoffrey C. Ward, who wrote the script for this new series, also wrote the Burns epic documentaries \u003ca href=\"https://www.npr.org/2007/09/18/14496870/ken-burns-releases-the-war\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The War\u003c/em>\u003c/a>, about World War II, and \u003ca href=\"https://www.npr.org/2014/09/10/347276638/three-roosevelts-come-alive-in-pbs-documentary-ken-burns-best-yet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Roosevelts: An Intimate History\u003c/em>\u003c/a>, in which Franklin and Eleanor Roosevelt figured prominently, as they do here. And Ward wrote \u003cem>The Civil War, \u003c/em>which put Ken Burns on the map in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13917075",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>More than 30 years later, the structure and methods of a Ken Burns production are so familiar as to be almost comforting, and\u003cem> The U.S. and the Holocaust \u003c/em>employs them all. There are celebrity voices reading the words of historical figures—this time, the voices include Meryl Streep, Paul Giamatti, Liam Neeson and Werner Herzog. Photographs are used patiently and poetically, revealing new elements as they pan and zoom in and out. Music and sound effects make every moment both more real and more emotional. And a Ken Burns documentary series always starts with a clear-cut summary of things to come—provided, this time, by frequent Burns narrator Peter Coyote.\u003c/p>\n\u003cp>\u003cem>The U.S. and the Holocaust,\u003c/em> like many Ken Burns history projects, examines his subject from the bottom up. Instead of interviewing military experts, he talks to survivors or their relatives. When historians and other experts are heard from, they discuss events from that same perspective. In this case, they try to understand, and explain, what it was like to endure Nazi atrocities—or even to believe that they were happening.\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/VCffe1USg18'\n title='//www.youtube.com/embed/VCffe1USg18'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The documentary spends a great deal of time delving into the intricacies of national politics—not only in Germany, where Adolf Hitler rose from prison to dictatorial power, but in America, where waves of isolationism kept the U.S. out of the war for years. It shows that most everyday Americans were not unaware of what the Nazis were doing in Europe. Throughout the documentary, we see newspaper headlines proving that the facts indeed were out there. Yet they were questioned by many, until after the war, when concentration camps were liberated and their atrocities documented.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13914530",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The opening installment, which premiers on Sept. 18, stops in the year 1938, and part two goes up to 1942. The concluding two hours cover the end of World War II, and its aftermath—the formation of Israel, the Nuremberg war trials, even the invention and introduction of the word “genocide.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s not until the final five minutes that the story is brought fully up to date. But those final sounds and images that conclude \u003cem>The U.S. and the Holocaust\u003c/em>—scenes with which we’re all too familiar, of hate crimes and hate-filled marches—connect the past to the present without Coyote, or anyone else, having to say a word. Once again, Burns and company have made history come to life—and reminded us that our life, right now, is indeed history in the making.\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=Ken+Burns+connects+the+past+and+the+present+in+%27The+U.S.+and+the+Holocaust%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13919209/ken-burns-connects-the-past-and-the-present-in-the-u-s-and-the-holocaust",
"authors": [
"byline_arts_13919209"
],
"categories": [
"arts_1",
"arts_7862",
"arts_990"
],
"tags": [
"arts_13672",
"arts_977",
"arts_9830",
"arts_2041"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13919210",
"label": "arts_137"
},
"arts_13901152": {
"type": "posts",
"id": "arts_13901152",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13901152",
"score": null,
"sort": [
1628793774000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1628793774,
"format": "standard",
"title": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren't Convinced",
"headTitle": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren’t Convinced | KQED",
"content": "\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>[aside postid='arts_13894917']“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>[aside postid='arts_13894863']“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>[aside postid='arts_13898108']Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>[aside postid='arts_13899758']“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\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=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1281,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1705007974,
"excerpt": "PBS has announced $11 million in grants to boost diversity among documentary filmmakers in response to criticisms. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "PBS has announced $11 million in grants to boost diversity among documentary filmmakers in response to criticisms. ",
"title": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren't Convinced | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren't Convinced",
"datePublished": "2021-08-12T11:42:54-07:00",
"dateModified": "2024-01-11T13:19:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pbs-and-ken-burns-vow-to-do-better-on-diversity-but-critics-arent-convinced",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1027030050&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 12 Aug 2021 13:34:31 -0400",
"nprLastModifiedDate": "Thu, 12 Aug 2021 13:57:52 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/12/1027030050/pbs-and-ken-burns-vow-to-do-better-on-diversity?ft=nprml&f=1027030050",
"nprImageAgency": "PBS",
"nprStoryId": "1027030050",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Justin Altman",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 12 Aug 2021 13:57:00 -0400",
"path": "/arts/13901152/pbs-and-ken-burns-vow-to-do-better-on-diversity-but-critics-arent-convinced",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894917",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894863",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13898108",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13899758",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\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>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\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=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13901152/pbs-and-ken-burns-vow-to-do-better-on-diversity-but-critics-arent-convinced",
"authors": [
"byline_arts_13901152"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_10589",
"arts_4027",
"arts_13672",
"arts_2041",
"arts_4565"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13901153",
"label": "arts_137"
},
"arts_13894917": {
"type": "posts",
"id": "arts_13894917",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13894917",
"score": null,
"sort": [
1617215178000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1617215178,
"format": "standard",
"title": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns",
"headTitle": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns | KQED",
"content": "\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. [aside postid='arts_13894863']\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. [aside postid='arts_13866441']\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. [aside postid='arts_13888079']\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1035,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705019248,
"excerpt": "Documentarians have signed a letter to PBS expressing concerns that white stars like Ken Burns get too much airtime and resources.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Documentarians have signed a letter to PBS expressing concerns that white stars like Ken Burns get too much airtime and resources.",
"title": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns",
"datePublished": "2021-03-31T11:26:18-07:00",
"dateModified": "2024-01-11T16:27:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=982706363&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 31 Mar 2021 05:00:00 -0400",
"nprLastModifiedDate": "Wed, 31 Mar 2021 13:52:17 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/03/31/982706363/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns?ft=nprml&f=982706363",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/03/20210331_me_filmmakers_call_out_pbs_for_a_lack_of_diversity_over-reliance_on_ken_burns.mp3?orgId=1&topicId=1138&d=192&p=3&story=982706363&ft=nprml&f=982706363",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1982953874-82e5d1.m3u?orgId=1&topicId=1138&d=192&p=3&story=982706363&ft=nprml&f=982706363",
"nprStoryId": "982706363",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Amy Sussman",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 31 Mar 2021 13:52:00 -0400",
"path": "/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/03/20210331_me_filmmakers_call_out_pbs_for_a_lack_of_diversity_over-reliance_on_ken_burns.mp3?orgId=1&topicId=1138&d=192&p=3&story=982706363&ft=nprml&f=982706363",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894863",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\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>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866441",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13888079",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns",
"authors": [
"byline_arts_13894917"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_977",
"arts_2041",
"arts_4565"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13894918",
"label": "arts_137"
},
"arts_13894863": {
"type": "posts",
"id": "arts_13894863",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13894863",
"score": null,
"sort": [
1617148444000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1617148444,
"format": "standard",
"title": "Ken Burns' 'Hemingway' Docuseries Dives Into the Writer's Complicated Life",
"headTitle": "Ken Burns’ ‘Hemingway’ Docuseries Dives Into the Writer’s Complicated Life | KQED",
"content": "\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sp7Lhdc4-vw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. [aside postid='arts_13866441']\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\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=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 596,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705019253,
"excerpt": "A three-part PBS documentary probes deeply into Ernest Hemingway's life and his writings, via, among others, his four wives. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A three-part PBS documentary probes deeply into Ernest Hemingway's life and his writings, via, among others, his four wives. ",
"title": "Ken Burns' 'Hemingway' Docuseries Dives Into the Writer's Complicated Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ken Burns' 'Hemingway' Docuseries Dives Into the Writer's Complicated Life",
"datePublished": "2021-03-30T16:54:04-07:00",
"dateModified": "2024-01-11T16:27:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=982637327&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 30 Mar 2021 14:22:13 -0400",
"nprLastModifiedDate": "Tue, 30 Mar 2021 14:42:51 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/03/30/982637327/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life?ft=nprml&f=982637327",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210330_fa_02.mp3?orgId=427869011&topicId=1163&d=420&p=13&story=982637327&ft=nprml&f=982637327",
"nprImageAgency": "Bettmann Archive/Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1982751147-1a9858.m3u?orgId=427869011&topicId=1163&d=420&p=13&story=982637327&ft=nprml&f=982637327",
"nprStoryId": "982637327",
"nprByline": "David Bianculli",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 30 Mar 2021 14:42:00 -0400",
"path": "/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210330_fa_02.mp3?orgId=427869011&topicId=1163&d=420&p=13&story=982637327&ft=nprml&f=982637327",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\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/sp7Lhdc4-vw'\n title='//www.youtube.com/embed/sp7Lhdc4-vw'\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>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866441",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\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=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life",
"authors": [
"byline_arts_13894863"
],
"categories": [
"arts_1",
"arts_73",
"arts_990"
],
"tags": [
"arts_928",
"arts_977",
"arts_2041",
"arts_4565"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13894864",
"label": "arts_137"
},
"arts_13866441": {
"type": "posts",
"id": "arts_13866441",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13866441",
"score": null,
"sort": [
1568672398000
]
},
"guestAuthors": [],
"slug": "in-ken-burns-country-music-an-optimistic-handling-of-race",
"title": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest",
"publishDate": 1568672398,
"format": "standard",
"headTitle": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "The new PBS documentary offers a too-charitable reading of power and privilege in country music.",
"status": "publish",
"parent": 0,
"modified": 1726766217,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1235
},
"headData": {
"title": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED",
"description": "The new PBS documentary offers a too-charitable reading of power and privilege in country music.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Country Music and Race: Something Seems Missing in Ken Burns’ Latest",
"datePublished": "2019-09-16T15:19:58-07:00",
"dateModified": "2024-09-19T10:16:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race",
"authors": [
"185"
],
"categories": [
"arts_2303",
"arts_74",
"arts_69"
],
"tags": [
"arts_2767",
"arts_7534",
"arts_7535",
"arts_1118",
"arts_2041",
"arts_3650"
],
"featImg": "arts_13866519",
"label": "arts"
},
"arts_13864417": {
"type": "posts",
"id": "arts_13864417",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864417",
"score": null,
"sort": [
1566338410000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566338410,
"format": "image",
"title": "Ken Burns' Top 5 Song Discoveries While Making 'Country Music'",
"headTitle": "Ken Burns’ Top 5 Song Discoveries While Making ‘Country Music’ | KQED",
"content": "\u003cp>How could anybody, after years spent working on a 16-hour country music documentary, pick just five important country songs out of thousands?\u003c/p>\n\u003cp>When I propose the idea to Ken Burns, he calls it “the impossible Top 5,” and with good reason. The documentary series \u003cem>\u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Country Music\u003c/a>\u003c/em>, premiering Sept. 15 on PBS, is \u003cem>full\u003c/em> of songs. Timeless songs. Songs with incredible backstories. Songs interwoven into the fabric of America. “Crazy.” “Lovesick Blues.” “I Walk the Line.”\u003c/p>\n\u003cp>[aside postID='arts_13862081' label=''Country Music' at San Quentin']\u003c/p>\n\u003cp>But those aren’t the songs I want. When I sit down with Burns in July, after \u003ca href=\"https://www.kqed.org/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates\" rel=\"noopener\" target=\"_blank\">a visit to San Quentin\u003c/a> to screen clips of the film for inmates, I ask for the lesser-known songs. Personal discoveries of songs that he’d never heard before he started working on \u003cem>Country Music\u003c/em>, or that he heard in a whole new light. Songs that, once discovered, perhaps even guided the documentary down a different path.\u003c/p>\n\u003cp>After some thought, Burns is game. He makes a list.\u003c/p>\n\u003cp>“Basically, the constituent building blocks of our work is biography, it’s really mostly about people,” he explains. “But what’s so wonderful, and I don’t think we were completely prepared for, is just how powerfully emotional some of these songs are.”\u003c/p>\n\u003cp>What follows is Ken Burns’ personal picks of five key underdog songs from \u003cem>Country Music\u003c/em>—in chronological order, and in his own words.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQ0ppOZ967k\u003c/p>\n\u003ch2>‘Mule Skinner Blues,’ Jimmie Rodgers\u003c/h2>\n\u003cp>“Mule Skinner Blues” is a wonderful, wonderful song. You can see the twinkle in the eye when Merle Haggard sings part of it for us in our first episode. What’s amazing is that “Mule Skinner Blues” resurfaces again and again and again as three other rebirths in our film. \u003c/p>\n\u003cp>Bill Monroe, when he’s asked to debut at the Grand Ole Opry, plays a new version of it. I don’t think I could quite call it bluegrass, but it’s taking “Mule Skinner Blues” and doing something else with it, and it’s a wonderful thing. Later on, we’re out in the Central Valley of California with Maddox Brothers and Rose, and they do an uptempo, incredible, kick-ass version of “Mule Skinner Blues.” And then one of Dolly’s debut songs on \u003cem>The Porter Wagoner Show\u003c/em> is “Mule Skinner Blues,” which she calls an heirloom. These things that are passed down from generation to generation to generation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1qz3CW5GE4\u003c/p>\n\u003ch2>‘Little Darling Pal of Mine,’ the Carter Family\u003c/h2>\n\u003cp>This is actually the second song you hear in our film. As we researched it, we found this amazing story, which is that it had begun, the melody or the rough approximation of a melody, as a 19th-century Protestant hymn. It got taken by an African-American minister into the black church, and was turned into a kind of almost gospel stomp called “When The World’s On Fire.” The Carter Family, listening to everybody, including African-American music, loved what they heard. Maybe it was Lesley Riddle, the guitarist, who brought “When The World’s On Fire” to them, but they changed it into “Little Darling Pal Of Mine,” which is one of their really big hits.\u003c/p>\n\u003cp>Well, Woody Guthrie heard it, and he wrote a song called “This Land Is Your Land.” Now, all of them, the original hymn, “When The World’s On Fire,” “Little Darling Pal of Mine,” and “This Land is Your Land,” all have the same melody, and all have a place in our film. I love the fact that a melody can undergo extraordinary transformation. I think I had learned once that “The Star-Spangled Banner” was an old English drinking song!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WnpLFrCIjdA\u003c/p>\n\u003ch2>‘Holding Things Together,’ Merle Haggard\u003c/h2>\n\u003cp>In the film, Dwight Yoakam sings part of this wonderful Merle Haggard song, which snuck up on me. Something I \u003cem>certainly\u003c/em> never heard, even though I knew a lot of Merle stuff. It stops Dwight Yoakam dead in his tracks, this great performer used to being in front of an audience. And suddenly he’s recalling his favorite Merle Haggard song: the unusual circumstance where it’s not the man who’s left the family but the woman who’s left the family, and the father’s left trying to hold it together. Dwight sings a part of it, then starts going into the next part and can’t get through it. Stops and really pauses, for a really long time.\u003c/p>\n\u003cp>It’s very poignant. It’s not awkward in any way because the emotion’s so genuine, and then he kind of talks his way through the rest of it, undone by how powerful Merle Haggard, the poet of the common man, is. I’ve seen it 500 times in our film, and I cry every time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nl5Uog-MDGo\u003c/p>\n\u003ch2>‘Where’ve You Been,’ Kathy Mattea\u003c/h2>\n\u003cp>So John Vezner’s married to Kathy Mattea. He’s at the Bluebird Cafe, and he’s singing this song that he and Don Henry had written, about his grandparents. His grandfather had been a salesman, and his grandmother was the salesman’s wife who waited for him to come home at the end of every day. She slips in her old age into forgetfulness, and one day they’re in different parts of the hospital for different reasons. She’s been unresponsive, and he’s wheeled into her room, and she looks up and she says, “Where’ve you been?” And it just… apparently, at the Bluebird, people were sobbing by the first or second verse.\u003c/p>\n\u003cp>It seemed too long and too maudlin of a song, nobody was going to record it. But Kathy Mattea said, “I want to do this,” and it won two Grammy awards. I’d never heard of it. It’s one of those requested songs in the canon of country music that is just so poignant. None of us are untouched by age-old love, and the fact of what happens to them is common to so many families. You can endow the ordinary with the extraordinary by just telling a good story. And “Where’ve You Been” is a great story.\u003c/p>\n\u003cp>I’m getting mushier and mushier. My final one is totally sentimental. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4xPQ16Asyoo\u003c/p>\n\u003ch2>‘I Still Miss Someone,’ Johnny Cash\u003c/h2>\n\u003cp>This is one of the last songs we hear in the film. Rosanne Cash sings it a cappella when asked about one of Johnny Cash’s favorite songs. She sang it at his memorial service at the Grand Ole Opry, and it’s amazing. The second verse is so spare and plain: “I go out to a party to have a little fun, but I find a darkened corner, because I still miss someone.” And it’s just… it’s all about longing. \u003cem>Do you think she’s sorry for what we once had?\u003c/em> It’s just so poignant, and it’s as simple as “I’m So Lonesome I Could Cry.” \u003c/p>\n\u003cp>It was a revelation to me. I thought I knew all about Johnny Cash. I worked in a record store in the late ’60s in Ann Arbor, Michigan. I knew Merle Haggard stuff, and not just “Okie From Muskogee,” and I knew all these other country people. I knew Johnny Cash more than anyone, because he crossed over more than anyone else. And I didn’t know this song. It just really, really gets me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1390,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705022279,
"excerpt": "The filmmaker chooses five key songs that he discovered while working on his country music documentary.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The filmmaker chooses five key songs that he discovered while working on his country music documentary.",
"title": "Ken Burns' Top 5 Song Discoveries While Making 'Country Music' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ken Burns' Top 5 Song Discoveries While Making 'Country Music'",
"datePublished": "2019-08-20T15:00:10-07:00",
"dateModified": "2024-01-11T17:17:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ken-burns-top-5-song-discoveries-while-making-country-music",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13864417/ken-burns-top-5-song-discoveries-while-making-country-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How could anybody, after years spent working on a 16-hour country music documentary, pick just five important country songs out of thousands?\u003c/p>\n\u003cp>When I propose the idea to Ken Burns, he calls it “the impossible Top 5,” and with good reason. The documentary series \u003cem>\u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Country Music\u003c/a>\u003c/em>, premiering Sept. 15 on PBS, is \u003cem>full\u003c/em> of songs. Timeless songs. Songs with incredible backstories. Songs interwoven into the fabric of America. “Crazy.” “Lovesick Blues.” “I Walk the Line.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13862081",
"label": "label=''Country Music' at San Quentin'"
},
"numeric": [
"label=''Country",
"Music'",
"at",
"San",
"Quentin'"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But those aren’t the songs I want. When I sit down with Burns in July, after \u003ca href=\"https://www.kqed.org/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates\" rel=\"noopener\" target=\"_blank\">a visit to San Quentin\u003c/a> to screen clips of the film for inmates, I ask for the lesser-known songs. Personal discoveries of songs that he’d never heard before he started working on \u003cem>Country Music\u003c/em>, or that he heard in a whole new light. Songs that, once discovered, perhaps even guided the documentary down a different path.\u003c/p>\n\u003cp>After some thought, Burns is game. He makes a list.\u003c/p>\n\u003cp>“Basically, the constituent building blocks of our work is biography, it’s really mostly about people,” he explains. “But what’s so wonderful, and I don’t think we were completely prepared for, is just how powerfully emotional some of these songs are.”\u003c/p>\n\u003cp>What follows is Ken Burns’ personal picks of five key underdog songs from \u003cem>Country Music\u003c/em>—in chronological order, and in his own words.\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/SQ0ppOZ967k'\n title='//www.youtube.com/embed/SQ0ppOZ967k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Mule Skinner Blues,’ Jimmie Rodgers\u003c/h2>\n\u003cp>“Mule Skinner Blues” is a wonderful, wonderful song. You can see the twinkle in the eye when Merle Haggard sings part of it for us in our first episode. What’s amazing is that “Mule Skinner Blues” resurfaces again and again and again as three other rebirths in our film. \u003c/p>\n\u003cp>Bill Monroe, when he’s asked to debut at the Grand Ole Opry, plays a new version of it. I don’t think I could quite call it bluegrass, but it’s taking “Mule Skinner Blues” and doing something else with it, and it’s a wonderful thing. Later on, we’re out in the Central Valley of California with Maddox Brothers and Rose, and they do an uptempo, incredible, kick-ass version of “Mule Skinner Blues.” And then one of Dolly’s debut songs on \u003cem>The Porter Wagoner Show\u003c/em> is “Mule Skinner Blues,” which she calls an heirloom. These things that are passed down from generation to generation to generation. \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/R1qz3CW5GE4'\n title='//www.youtube.com/embed/R1qz3CW5GE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Little Darling Pal of Mine,’ the Carter Family\u003c/h2>\n\u003cp>This is actually the second song you hear in our film. As we researched it, we found this amazing story, which is that it had begun, the melody or the rough approximation of a melody, as a 19th-century Protestant hymn. It got taken by an African-American minister into the black church, and was turned into a kind of almost gospel stomp called “When The World’s On Fire.” The Carter Family, listening to everybody, including African-American music, loved what they heard. Maybe it was Lesley Riddle, the guitarist, who brought “When The World’s On Fire” to them, but they changed it into “Little Darling Pal Of Mine,” which is one of their really big hits.\u003c/p>\n\u003cp>Well, Woody Guthrie heard it, and he wrote a song called “This Land Is Your Land.” Now, all of them, the original hymn, “When The World’s On Fire,” “Little Darling Pal of Mine,” and “This Land is Your Land,” all have the same melody, and all have a place in our film. I love the fact that a melody can undergo extraordinary transformation. I think I had learned once that “The Star-Spangled Banner” was an old English drinking song!\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/WnpLFrCIjdA'\n title='//www.youtube.com/embed/WnpLFrCIjdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Holding Things Together,’ Merle Haggard\u003c/h2>\n\u003cp>In the film, Dwight Yoakam sings part of this wonderful Merle Haggard song, which snuck up on me. Something I \u003cem>certainly\u003c/em> never heard, even though I knew a lot of Merle stuff. It stops Dwight Yoakam dead in his tracks, this great performer used to being in front of an audience. And suddenly he’s recalling his favorite Merle Haggard song: the unusual circumstance where it’s not the man who’s left the family but the woman who’s left the family, and the father’s left trying to hold it together. Dwight sings a part of it, then starts going into the next part and can’t get through it. Stops and really pauses, for a really long time.\u003c/p>\n\u003cp>It’s very poignant. It’s not awkward in any way because the emotion’s so genuine, and then he kind of talks his way through the rest of it, undone by how powerful Merle Haggard, the poet of the common man, is. I’ve seen it 500 times in our film, and I cry every time.\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/nl5Uog-MDGo'\n title='//www.youtube.com/embed/nl5Uog-MDGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Where’ve You Been,’ Kathy Mattea\u003c/h2>\n\u003cp>So John Vezner’s married to Kathy Mattea. He’s at the Bluebird Cafe, and he’s singing this song that he and Don Henry had written, about his grandparents. His grandfather had been a salesman, and his grandmother was the salesman’s wife who waited for him to come home at the end of every day. She slips in her old age into forgetfulness, and one day they’re in different parts of the hospital for different reasons. She’s been unresponsive, and he’s wheeled into her room, and she looks up and she says, “Where’ve you been?” And it just… apparently, at the Bluebird, people were sobbing by the first or second verse.\u003c/p>\n\u003cp>It seemed too long and too maudlin of a song, nobody was going to record it. But Kathy Mattea said, “I want to do this,” and it won two Grammy awards. I’d never heard of it. It’s one of those requested songs in the canon of country music that is just so poignant. None of us are untouched by age-old love, and the fact of what happens to them is common to so many families. You can endow the ordinary with the extraordinary by just telling a good story. And “Where’ve You Been” is a great story.\u003c/p>\n\u003cp>I’m getting mushier and mushier. My final one is totally sentimental. \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/4xPQ16Asyoo'\n title='//www.youtube.com/embed/4xPQ16Asyoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘I Still Miss Someone,’ Johnny Cash\u003c/h2>\n\u003cp>This is one of the last songs we hear in the film. Rosanne Cash sings it a cappella when asked about one of Johnny Cash’s favorite songs. She sang it at his memorial service at the Grand Ole Opry, and it’s amazing. The second verse is so spare and plain: “I go out to a party to have a little fun, but I find a darkened corner, because I still miss someone.” And it’s just… it’s all about longing. \u003cem>Do you think she’s sorry for what we once had?\u003c/em> It’s just so poignant, and it’s as simple as “I’m So Lonesome I Could Cry.” \u003c/p>\n\u003cp>It was a revelation to me. I thought I knew all about Johnny Cash. I worked in a record store in the late ’60s in Ann Arbor, Michigan. I knew Merle Haggard stuff, and not just “Okie From Muskogee,” and I knew all these other country people. I knew Johnny Cash more than anyone, because he crossed over more than anyone else. And I didn’t know this song. It just really, really gets me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864417/ken-burns-top-5-song-discoveries-while-making-country-music",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_7534",
"arts_7535",
"arts_1118",
"arts_2041"
],
"featImg": "arts_13862150",
"label": "arts"
},
"arts_13862081": {
"type": "posts",
"id": "arts_13862081",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862081",
"score": null,
"sort": [
1564023850000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1564023850,
"format": "standard",
"title": "Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates",
"headTitle": "Ken Burns Visits San Quentin to Preview ‘Country Music’ Documentary For Inmates | KQED",
"content": "\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 803,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705022492,
"excerpt": "The prolific documentary filmmaker delivered a message about redemption and destigmatizing incarceration.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The prolific documentary filmmaker delivered a message about redemption and destigmatizing incarceration.",
"title": "Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates",
"datePublished": "2019-07-24T20:04:10-07:00",
"dateModified": "2024-01-11T17:21:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\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 clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates",
"authors": [
"11091"
],
"categories": [
"arts_74",
"arts_69",
"arts_235"
],
"tags": [
"arts_7534",
"arts_7535",
"arts_1118",
"arts_2041",
"arts_746",
"arts_596",
"arts_1985",
"arts_5891"
],
"featImg": "arts_13862097",
"label": "arts"
},
"arts_13858679": {
"type": "posts",
"id": "arts_13858679",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13858679",
"score": null,
"sort": [
1559326738000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1559326738,
"format": "standard",
"title": "'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music",
"headTitle": "‘Country Music’ by Ken Burns Chronicles the Evolution of a Truly American Music | KQED",
"content": "\u003cp>Step back in time and journey through the compelling history of a truly American art form when \u003cem>Country Music\u003c/em>, a new documentary series directed by Ken Burns, premieres on KQED 9 beginning Sunday, Sept. 15, 2019. Over eight two-hour episodes, the series chronicles country music’s early days, from southern Appalachia’s songs of struggle, heartbreak and faith to the rollicking western swing of Texas, California’s honky-tonks and Nashville’s “Grand Ole Opry.” The film series follows the evolution of country music over the course of the 20th century as it eventually emerges to become “America’s music.” \u003c/p>\n\u003cp>Produced by Burns and his long-time collaborators Dayton Duncan and Julie Dunfey, the series asks: What is country music? And where did it come from? Focusing on the biographies of the fascinating trailblazers who created and shaped it—from the Carter Family, Jimmie Rodgers, Bill Monroe and Bob Wills to Hank Williams, Patsy Cline, Johnny Cash, Merle Haggard, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton, Emmylou Harris, Garth Brooks and many more—the series tells unforgettable stories of hardships and joys shared by everyday people and the times in which they lived. \u003c/p>\n\u003cp>https://youtu.be/p80gOBTWASc?list=PLzkQfVIJun2I1nBMl6PTyv4vH-3NfoN0n\u003c/p>\n\u003cp>Although the Bay Area is not the first region most music fans think of when they think of country music, the area has made its own quirky contributions to the genre. Over the next few months through the premiere of \u003cem>Country Music\u003c/em>, KQED will share profiles and several of the stories that highlight the Northern California’s unique intersection with this American art form. \u003c/p>\n\u003cp>\u003cem>Country Music\u003c/em> premieres Sunday, Sept. 15 through Wednesday, Sept. 18, and Sunday, Sept. 22 through Wednesday, Sept. 25 at 8pm on KQED 9 and will be available for streaming on the PBS Video App and \u003ca href=\"https://video.kqed.org/\" rel=\"noopener\" target=\"_blank\">online at video.kqed.org\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 328,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705026112,
"excerpt": "The documentary airs Sept. 15–25 on KQED 9 and on streaming.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The documentary airs Sept. 15–25 on KQED 9 and on streaming.",
"title": "'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music",
"datePublished": "2019-05-31T11:18:58-07:00",
"dateModified": "2024-01-11T18:21:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "country-music-by-ken-burns-chronicles-the-evolution-of-a-truly-american-music",
"status": "publish",
"nprByline": "Peter Cavagnaro",
"sticky": false,
"path": "/arts/13858679/country-music-by-ken-burns-chronicles-the-evolution-of-a-truly-american-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Step back in time and journey through the compelling history of a truly American art form when \u003cem>Country Music\u003c/em>, a new documentary series directed by Ken Burns, premieres on KQED 9 beginning Sunday, Sept. 15, 2019. Over eight two-hour episodes, the series chronicles country music’s early days, from southern Appalachia’s songs of struggle, heartbreak and faith to the rollicking western swing of Texas, California’s honky-tonks and Nashville’s “Grand Ole Opry.” The film series follows the evolution of country music over the course of the 20th century as it eventually emerges to become “America’s music.” \u003c/p>\n\u003cp>Produced by Burns and his long-time collaborators Dayton Duncan and Julie Dunfey, the series asks: What is country music? And where did it come from? Focusing on the biographies of the fascinating trailblazers who created and shaped it—from the Carter Family, Jimmie Rodgers, Bill Monroe and Bob Wills to Hank Williams, Patsy Cline, Johnny Cash, Merle Haggard, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton, Emmylou Harris, Garth Brooks and many more—the series tells unforgettable stories of hardships and joys shared by everyday people and the times in which they lived. \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/p80gOBTWASc'\n title='//www.youtube.com/embed/p80gOBTWASc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although the Bay Area is not the first region most music fans think of when they think of country music, the area has made its own quirky contributions to the genre. Over the next few months through the premiere of \u003cem>Country Music\u003c/em>, KQED will share profiles and several of the stories that highlight the Northern California’s unique intersection with this American art form. \u003c/p>\n\u003cp>\u003cem>Country Music\u003c/em> premieres Sunday, Sept. 15 through Wednesday, Sept. 18, and Sunday, Sept. 22 through Wednesday, Sept. 25 at 8pm on KQED 9 and will be available for streaming on the PBS Video App and \u003ca href=\"https://video.kqed.org/\" rel=\"noopener\" target=\"_blank\">online at video.kqed.org\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13858679/country-music-by-ken-burns-chronicles-the-evolution-of-a-truly-american-music",
"authors": [
"byline_arts_13858679"
],
"categories": [
"arts_69",
"arts_990"
],
"tags": [
"arts_7534",
"arts_7535",
"arts_13672",
"arts_1254",
"arts_2041"
],
"featImg": "arts_13858682",
"label": "arts"
},
"arts_13790473": {
"type": "posts",
"id": "arts_13790473",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13790473",
"score": null,
"sort": [
1501711238000
]
},
"guestAuthors": [],
"slug": "the-vietnam-war-a-harrowing-look-back-for-viewers-and-filmmakers-alike",
"title": "'The Vietnam War' a Harrowing Look Back for Viewers and Filmmakers Alike",
"publishDate": 1501711238,
"format": "image",
"headTitle": "‘The Vietnam War’ a Harrowing Look Back for Viewers and Filmmakers Alike | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>If the truth hurts, then the new Ken Burns documentary \u003ci>The Vietnam War\u003c/i> is a kick in the stomach.\u003c/p>\n\u003cp>Burns and his co-director Lynn Novick spent 10 years making the 18-hour-long series \u003cem>The Vietnam War\u003c/em>, resulting in an extensive report on the decades-long conflict. Across 10 episodes, Burns and Novick’s lens focuses on our country’s mistakes and the horrors of modern warfare. Burns describes the work as “emotional archaeology,” and plenty of emotions are dug up throughout series: from the participants in the film, its viewers and even the filmmakers themselves.\u003c/p>\n\u003cp>“This film was exponentially more difficult and more challenging intellectually, emotionally, creatively, organizationally — just everything about it,” Novick said during an interview with both filmmakers at KQED last week. “We’re not really the same people we were 10 years ago.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3j-3Xi5BcKs\u003c/p>\n\u003cp>\u003ci>The Vietnam War\u003c/i>, which premieres on PBS in September, portrays the American government as missing the bigger picture, fatally focused on the spread of communism rather than the country’s desire for independence. The filmmakers establish this narrative in the first episode, which oscillates between France’s struggle to keep its hold on Vietnam and bloody scenes of America’s war in the same country a decade later. From the get-go, the documentary becomes frustrating for the viewer, who knows what’s going to happen but can’t do anything to stop it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s like a horror film where you see the teenager in her nightgown hearing a noise and coming out of a room, and you’re going, ‘Stay in your room. Don’t walk over there. Don’t go into the bathroom,’” Burns said.\u003c/p>\n\u003cp>Burns and Novick interviewed 80 sources for the film on a subject that scarred many, both physically or emotionally. Novick said that the reporting took a personal emotional toll, as she and Burns heard dozens of devastating stories and pored over thousands of images and hours of footage from a war that resulted in millions of civilians being killed, many of them women and children.\u003c/p>\n\u003cp>“When we’re looking at a piece of footage or a still photograph, it’s real to us. You hear the sounds, you see a child screaming — that sort of gets under your skin,” Novick said. “It’s almost hard to find words to explain how you’ve changed from just being exposed to this material, let alone trying to organize and make sense out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13792214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg\" alt=\"Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965.\" width=\"800\" height=\"563\" class=\"size-medium wp-image-13792214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965. \u003ccite>(Courtesy of AP/Horst Faas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the filmmakers were on a mission. Assisting them was the fact that enough time had passed since the conflict, and many who were affected by it at home and abroad were ready to tell their stories. They also made a concerted effort to speak with Vietnamese people on both sides of the conflict — North and South — ensuring for a more comprehensive viewpoint and moving away from most other American-centered documentaries on the war.\u003c/p>\n\u003cp>“What we need, not just in our understanding of Vietnam, but what we need right now in our understanding of ourselves, is an ability to tolerate a view that that isn’t quite our own — that’s just even a couple degrees different,” Burns said. \u003c/p>\n\u003cp>Indeed, statements from North Vietnamese soldiers prove to be the most poignant. While discussing how Americans reacted to their fellow soldiers, Viet Cong veteran Le Cong Huan notes that they “cried and held each other. When one was killed, the others stuck together.”\u003c/p>\n\u003cp>Added Cong Huan, “Americans, like Vietnamese, have a profound sense of humanity.'”\u003c/p>\n\u003cp>That humanization in the film extends to all parties involved in the war. For example, Burns and Novick said that they “obsessed” over the use of the term Viet Cong to describe the North Vietnamese army, who called themselves the National Liberation Front. Viet Cong has its origins as \u003ca href=\"https://en.wikipedia.org/wiki/Viet_Cong#Names\" target=\"_blank\" rel=\"noopener\">a derogatory term\u003c/a> meaning “Communist Traitors to Vietnam.” (They ended up using the term in the film, but not the accompanying book.)\u003c/p>\n\u003cfigure id=\"attachment_13790476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg\" alt=\"Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at 'The Vietnam War' premiere during the 2017 Tribeca Film Festival\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at ‘The Vietnam War’ premiere during the 2017 Tribeca Film Festival. \u003ccite>(Photo: Dia Dipasupil/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These past few weeks, Burns and Novick have been touring the film, showing it across the nation to critical acclaim — some publications are calling \u003ci>The Vietnam War\u003c/i> \u003ca href=\"http://www.mercurynews.com/2017/07/30/is-the-vietnam-war-ken-burns-best-work-yet/\" target=\"_blank\" rel=\"noopener\">their best work yet\u003c/a>. Novick has even expressed concern that she and Burns would never work on a project “this important ever again.” (Burns insists that they will.) \u003c/p>\n\u003cp>For now, the two are enjoying the fruits of their labor, witnessing the overwhelming impact it has an audiences all over the nation. \u003c/p>\n\u003cp>“The first time we watched the whole film in one fell swoop — over four days — with some of the people who are in it, no one could talk when it was done. People were sobbing. I was sobbing so much I had to leave the room,” Novick said.\u003c/p>\n\u003cp>“In that moment we were overcome with the fact that we had relived the war with a group of people, some of whom had been in it,” Burns said. “It was the opposite of trauma — it was catharsis.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003ci>‘The Vietnam War,’ a new 10-part, 18-hour documentary film series directed by Ken Burns and Lynn Novick, premieres Sept. 17, 2017, on PBS stations nationwide. Check your local listings for times.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Ken Burns and Lynn Novick discuss their latest documentary: a deep, 18-hour examination of the Vietnam War, already hailed as their best work yet.",
"status": "publish",
"parent": 0,
"modified": 1726708367,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 978
},
"headData": {
"title": "'The Vietnam War' a Harrowing Look Back for Viewers and Filmmakers Alike | KQED",
"description": "Ken Burns and Lynn Novick discuss their latest documentary: a deep, 18-hour examination of the Vietnam War, already hailed as their best work yet.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Vietnam War' a Harrowing Look Back for Viewers and Filmmakers Alike",
"datePublished": "2017-08-02T15:00:38-07:00",
"dateModified": "2024-09-18T18:12:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13790473/the-vietnam-war-a-harrowing-look-back-for-viewers-and-filmmakers-alike",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the truth hurts, then the new Ken Burns documentary \u003ci>The Vietnam War\u003c/i> is a kick in the stomach.\u003c/p>\n\u003cp>Burns and his co-director Lynn Novick spent 10 years making the 18-hour-long series \u003cem>The Vietnam War\u003c/em>, resulting in an extensive report on the decades-long conflict. Across 10 episodes, Burns and Novick’s lens focuses on our country’s mistakes and the horrors of modern warfare. Burns describes the work as “emotional archaeology,” and plenty of emotions are dug up throughout series: from the participants in the film, its viewers and even the filmmakers themselves.\u003c/p>\n\u003cp>“This film was exponentially more difficult and more challenging intellectually, emotionally, creatively, organizationally — just everything about it,” Novick said during an interview with both filmmakers at KQED last week. “We’re not really the same people we were 10 years ago.”\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/3j-3Xi5BcKs'\n title='//www.youtube.com/embed/3j-3Xi5BcKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>The Vietnam War\u003c/i>, which premieres on PBS in September, portrays the American government as missing the bigger picture, fatally focused on the spread of communism rather than the country’s desire for independence. The filmmakers establish this narrative in the first episode, which oscillates between France’s struggle to keep its hold on Vietnam and bloody scenes of America’s war in the same country a decade later. From the get-go, the documentary becomes frustrating for the viewer, who knows what’s going to happen but can’t do anything to stop 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>“It’s like a horror film where you see the teenager in her nightgown hearing a noise and coming out of a room, and you’re going, ‘Stay in your room. Don’t walk over there. Don’t go into the bathroom,’” Burns said.\u003c/p>\n\u003cp>Burns and Novick interviewed 80 sources for the film on a subject that scarred many, both physically or emotionally. Novick said that the reporting took a personal emotional toll, as she and Burns heard dozens of devastating stories and pored over thousands of images and hours of footage from a war that resulted in millions of civilians being killed, many of them women and children.\u003c/p>\n\u003cp>“When we’re looking at a piece of footage or a still photograph, it’s real to us. You hear the sounds, you see a child screaming — that sort of gets under your skin,” Novick said. “It’s almost hard to find words to explain how you’ve changed from just being exposed to this material, let alone trying to organize and make sense out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13792214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg\" alt=\"Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965.\" width=\"800\" height=\"563\" class=\"size-medium wp-image-13792214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965. \u003ccite>(Courtesy of AP/Horst Faas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the filmmakers were on a mission. Assisting them was the fact that enough time had passed since the conflict, and many who were affected by it at home and abroad were ready to tell their stories. They also made a concerted effort to speak with Vietnamese people on both sides of the conflict — North and South — ensuring for a more comprehensive viewpoint and moving away from most other American-centered documentaries on the war.\u003c/p>\n\u003cp>“What we need, not just in our understanding of Vietnam, but what we need right now in our understanding of ourselves, is an ability to tolerate a view that that isn’t quite our own — that’s just even a couple degrees different,” Burns said. \u003c/p>\n\u003cp>Indeed, statements from North Vietnamese soldiers prove to be the most poignant. While discussing how Americans reacted to their fellow soldiers, Viet Cong veteran Le Cong Huan notes that they “cried and held each other. When one was killed, the others stuck together.”\u003c/p>\n\u003cp>Added Cong Huan, “Americans, like Vietnamese, have a profound sense of humanity.'”\u003c/p>\n\u003cp>That humanization in the film extends to all parties involved in the war. For example, Burns and Novick said that they “obsessed” over the use of the term Viet Cong to describe the North Vietnamese army, who called themselves the National Liberation Front. Viet Cong has its origins as \u003ca href=\"https://en.wikipedia.org/wiki/Viet_Cong#Names\" target=\"_blank\" rel=\"noopener\">a derogatory term\u003c/a> meaning “Communist Traitors to Vietnam.” (They ended up using the term in the film, but not the accompanying book.)\u003c/p>\n\u003cfigure id=\"attachment_13790476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg\" alt=\"Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at 'The Vietnam War' premiere during the 2017 Tribeca Film Festival\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at ‘The Vietnam War’ premiere during the 2017 Tribeca Film Festival. \u003ccite>(Photo: Dia Dipasupil/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These past few weeks, Burns and Novick have been touring the film, showing it across the nation to critical acclaim — some publications are calling \u003ci>The Vietnam War\u003c/i> \u003ca href=\"http://www.mercurynews.com/2017/07/30/is-the-vietnam-war-ken-burns-best-work-yet/\" target=\"_blank\" rel=\"noopener\">their best work yet\u003c/a>. Novick has even expressed concern that she and Burns would never work on a project “this important ever again.” (Burns insists that they will.) \u003c/p>\n\u003cp>For now, the two are enjoying the fruits of their labor, witnessing the overwhelming impact it has an audiences all over the nation. \u003c/p>\n\u003cp>“The first time we watched the whole film in one fell swoop — over four days — with some of the people who are in it, no one could talk when it was done. People were sobbing. I was sobbing so much I had to leave the room,” Novick said.\u003c/p>\n\u003cp>“In that moment we were overcome with the fact that we had relived the war with a group of people, some of whom had been in it,” Burns said. “It was the opposite of trauma — it was catharsis.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003ci>‘The Vietnam War,’ a new 10-part, 18-hour documentary film series directed by Ken Burns and Lynn Novick, premieres Sept. 17, 2017, on PBS stations nationwide. Check your local listings for times.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13790473/the-vietnam-war-a-harrowing-look-back-for-viewers-and-filmmakers-alike",
"authors": [
"93"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1118",
"arts_2041",
"arts_596",
"arts_989",
"arts_2473"
],
"featImg": "arts_13791629",
"label": "arts"
}
},
"programsReducer": {
"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"
}
},
"1a": {
"id": "1a",
"title": "1A",
"info": "1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.",
"airtime": "MON-THU 11pm-12am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg",
"officialWebsiteLink": "https://the1a.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/1a",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/1A-p947376/",
"rss": "https://feeds.npr.org/510316/podcast.xml"
}
},
"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": 4
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"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"
}
},
"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": 10
},
"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"
}
},
"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"
}
},
"inside-europe": {
"id": "inside-europe",
"title": "Inside Europe",
"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
"airtime": "SAT 3am-4am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
"meta": {
"site": "news",
"source": "Deutsche Welle"
},
"link": "/radio/program/inside-europe",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
"tuneIn": "https://tunein.com/radio/Inside-Europe-p731/",
"rss": "https://partner.dw.com/xml/podcast_inside-europe"
}
},
"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"
}
},
"live-from-here-highlights": {
"id": "live-from-here-highlights",
"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
"site": "arts",
"source": "american public media"
},
"link": "/radio/program/live-from-here-highlights",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1167173941",
"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
}
},
"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"
}
},
"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": 13
},
"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": 12
},
"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"
}
},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
"site": "news",
"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
"spotify": "https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc",
"rss": "https://feeds.simplecast.com/_xaPhs1s",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"
}
},
"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",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 15
},
"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": 6
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"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"
}
},
"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"
}
},
"says-you": {
"id": "says-you",
"title": "Says You!",
"info": "Public radio's game show of bluff and bluster, words and whimsy. The warmest, wittiest cocktail party - it's spirited and civil, brainy and boisterous, peppered with musical interludes. Fast paced and playful, it's the most fun you can have with language without getting your mouth washed out with soap. Our motto: It's not important to know the answers, it's important to like the answers!",
"airtime": "SUN 4pm-5pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Says-You-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.saysyouradio.com/",
"meta": {
"site": "comedy",
"source": "Pipit and Finch"
},
"link": "/radio/program/says-you",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/says-you!/id1050199826",
"tuneIn": "https://tunein.com/radio/Says-You-p480/",
"rss": "https://saysyou.libsyn.com/rss"
}
},
"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"
}
},
"selected-shorts": {
"id": "selected-shorts",
"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
"airtime": "SAT 8pm-9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Selected-Shorts-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/selected-shorts",
"meta": {
"site": "arts",
"source": "pri"
},
"link": "/radio/program/selected-shorts",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=253191824&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Selected-Shorts-p31792/",
"rss": "https://feeds.megaphone.fm/selectedshorts"
}
},
"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",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 5
},
"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": 14
},
"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/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"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": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"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"
}
},
"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"
}
},
"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"
}
},
"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": 3
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"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"
}
},
"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": 9
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"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": 11
},
"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"
}
},
"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": 2
},
"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"
}
},
"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": 7
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"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"
}
},
"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"
}
},
"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-takeaway": {
"id": "the-takeaway",
"title": "The Takeaway",
"info": "The Takeaway is produced in partnership with its national audience. It delivers perspective and analysis to help us better understand the day’s news. Be a part of the American conversation on-air and online.",
"airtime": "MON-THU 12pm-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Takeaway-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/takeaway",
"meta": {
"site": "news",
"source": "WNYC"
},
"link": "/radio/program/the-takeaway",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-takeaway/id363143310?mt=2",
"tuneIn": "http://tunein.com/radio/The-Takeaway-p150731/",
"rss": "https://feeds.feedburner.com/takeawaypodcast"
}
},
"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"
}
},
"truthbetold": {
"id": "truthbetold",
"title": "Truth Be Told",
"tagline": "Advice by and for people of color",
"info": "We’re the friend you call after a long day, the one who gets it. Through wisdom from some of the greatest thinkers of our time, host Tonya Mosley explores what it means to grow and thrive as a Black person in America, while discovering new ways of being that serve as a portal to more love, more healing, and more joy.",
"airtime": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Truth-Be-Told-Podcast-Tile-360x360-1.jpg",
"imageAlt": "KQED Truth Be Told with Tonya Mosley",
"officialWebsiteLink": "https://www.kqed.ord/podcasts/truthbetold",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/podcasts/truthbetold",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/truth-be-told/id1462216572",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS90cnV0aC1iZS10b2xkLXBvZGNhc3QvZmVlZA",
"npr": "https://www.npr.org/podcasts/719210818/truth-be-told",
"stitcher": "https://www.stitcher.com/s?fid=398170&refid=stpr",
"spotify": "https://open.spotify.com/show/587DhwTBxke6uvfwDfaV5N"
}
},
"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"
}
},
"washington-week": {
"id": "washington-week",
"title": "Washington Week",
"info": "For 50 years, Washington Week has been the most intelligent and up to date conversation about the most important news stories of the week. Washington Week is the longest-running news and public affairs program on PBS and features journalists -- not pundits -- lending insight and perspective to the week's important news stories.",
"airtime": "SAT 1:30am-2am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/washington-week.jpg",
"officialWebsiteLink": "http://www.pbs.org/weta/washingtonweek/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/washington-week",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/washington-week-audio-pbs/id83324702?mt=2",
"tuneIn": "https://tunein.com/podcasts/Current-Affairs/Washington-Week-p693/",
"rss": "http://feeds.pbs.org/pbs/weta/washingtonweek-audio"
}
},
"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"
},
"world-affairs": {
"id": "world-affairs",
"title": "World Affairs",
"info": "The world as we knew it is undergoing a rapid transformation…so what's next? Welcome to WorldAffairs, your guide to a changing world. We give you the context you need to navigate across borders and ideologies. Through sound-rich stories and in-depth interviews, we break down what it means to be a global citizen on a hot, crowded planet. Our hosts, Ray Suarez, Teresa Cotsirilos and Philip Yun help you make sense of an uncertain world, one story at a time.",
"airtime": "MON 10pm, TUE 1am, SAT 3am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/World-Affairs-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.worldaffairs.org/",
"meta": {
"site": "news",
"source": "World Affairs"
},
"link": "/radio/program/world-affairs",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/world-affairs/id101215657?mt=2",
"tuneIn": "https://tunein.com/radio/WorldAffairs-p1665/",
"rss": "https://worldaffairs.libsyn.com/rss"
}
},
"on-shifting-ground": {
"id": "on-shifting-ground",
"title": "On Shifting Ground with Ray Suarez",
"info": "Geopolitical turmoil. A warming planet. Authoritarians on the rise. We live in a chaotic world that’s rapidly shifting around us. “On Shifting Ground with Ray Suarez” explores international fault lines and how they impact us all. Each week, NPR veteran Ray Suarez hosts conversations with journalists, leaders and policy experts to help us read between the headlines – and give us hope for human resilience.",
"airtime": "MON 10pm, TUE 1am, SAT 3am",
"imageSrc": "https://ww2.kqed.org/app/uploads/2022/12/onshiftingground-600x600-1.png",
"officialWebsiteLink": "https://worldaffairs.org/radio-podcast/",
"meta": {
"site": "news",
"source": "On Shifting Ground"
},
"link": "/radio/program/on-shifting-ground",
"subscribe": {
"apple": "https://podcasts.apple.com/ie/podcast/on-shifting-ground/id101215657",
"rss": "https://feeds.libsyn.com/36668/rss"
}
},
"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"
}
},
"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": 1
},
"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"
}
},
"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/"
}
},
"white-lies": {
"id": "white-lies",
"title": "White Lies",
"info": "In 1965, Rev. James Reeb was murdered in Selma, Alabama. Three men were tried and acquitted, but no one was ever held to account. Fifty years later, two journalists from Alabama return to the city where it happened, expose the lies that kept the murder from being solved and uncover a story about guilt and memory that says as much about America today as it does about the past.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/White-Lies-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/podcasts/510343/white-lies",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/white-lies",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/whitelies",
"apple": "https://podcasts.apple.com/podcast/id1462650519?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM0My9wb2RjYXN0LnhtbA",
"spotify": "https://open.spotify.com/show/12yZ2j8vxqhc0QZyRES3ft?si=LfWYEK6URA63hueKVxRLAw",
"rss": "https://feeds.npr.org/510343/podcast.xml"
}
},
"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"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"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"
}
},
"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"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=ken-burns": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 9,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 9,
"relation": "eq"
},
"items": [
"arts_13919209",
"arts_13901152",
"arts_13894917",
"arts_13894863",
"arts_13866441",
"arts_13864417",
"arts_13862081",
"arts_13858679",
"arts_13790473"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"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"
},
"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"
},
"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_2041": {
"type": "terms",
"id": "arts_2041",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ken Burns",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ken Burns Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 2053,
"slug": "ken-burns",
"isLoading": false,
"link": "/arts/tag/ken-burns"
},
"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_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_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_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_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_9830": {
"type": "terms",
"id": "arts_9830",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9830",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Holocaust",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Holocaust Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9842,
"slug": "holocaust",
"isLoading": false,
"link": "/arts/tag/holocaust"
},
"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_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_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"arts_4027": {
"type": "terms",
"id": "arts_4027",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4027",
"found": true
},
"relationships": {},
"featImg": null,
"name": "diversity",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "diversity Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4039,
"slug": "diversity",
"isLoading": false,
"link": "/arts/tag/diversity"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_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_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_7535": {
"type": "terms",
"id": "arts_7535",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7535",
"found": true
},
"relationships": {},
"featImg": null,
"name": "countrymusicPBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "countrymusicPBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7547,
"slug": "countrymusicpbs",
"isLoading": false,
"link": "/arts/tag/countrymusicpbs"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_3650": {
"type": "terms",
"id": "arts_3650",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3650",
"found": true
},
"relationships": {},
"featImg": null,
"name": "race",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "race Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3662,
"slug": "race",
"isLoading": false,
"link": "/arts/tag/race"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_1985": {
"type": "terms",
"id": "arts_1985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1997,
"slug": "san-quentin",
"isLoading": false,
"link": "/arts/tag/san-quentin"
},
"arts_5891": {
"type": "terms",
"id": "arts_5891",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5891",
"found": true
},
"relationships": {},
"featImg": null,
"name": "san quentin state prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "san quentin state prison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5903,
"slug": "san-quentin-state-prison",
"isLoading": false,
"link": "/arts/tag/san-quentin-state-prison"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_2473": {
"type": "terms",
"id": "arts_2473",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2473",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Vietnam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Vietnam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2485,
"slug": "vietnam",
"isLoading": false,
"link": "/arts/tag/vietnam"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"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
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/ken-burns",
"previousPathname": "/"
}
}
