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_13968237": {
"type": "attachments",
"id": "arts_13968237",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968237",
"found": true
},
"title": "UA.16x9.MAIN",
"publishDate": 1731967993,
"status": "inherit",
"parent": 13968236,
"modified": 1731968553,
"caption": null,
"credit": "Briana Loewinsohn",
"altTag": "An illustration of a movie theater exterior, with young girl looking up at a poster for 'The Muppets Take Manhattan' in a display frame.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA.16x9.MAIN_.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13920286": {
"type": "attachments",
"id": "arts_13920286",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920286",
"found": true
},
"parent": 13920285,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-160x113.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 113
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-scaled.jpg",
"width": 2560,
"height": 1802
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-2048x1442.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1442
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-1020x718.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 718
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-1536x1081.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1081
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-1920x1352.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1352
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-800x563.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 563
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/warhol-4_custom-56581aa1ad743e3c83ecf7ad3e91734c33d436a3-768x541.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 541
}
},
"publishDate": 1665593686,
"modified": 1665593884,
"caption": "A portrait of Prince taken by Lynn Goldsmith (left) in 1981 and 16 silk-screened images Andy Warhol later created using the photo as a reference. A federal district court judge found that Warhol's series is \"transformative\" because it conveys a different message from the original, and thus is fair use. A Second Circuit Court of Appeals panel disagreed.",
"description": null,
"title": "A portrait of Prince taken by Lynn Goldsmith (left) in 1981 and 16 silk-screened images Andy Warhol later created using the photo as a reference. A federal district court judge found that Warhol's series is \"transformative\" because it conveys a different message from the original, and thus is fair use. A Second Circuit Court of Appeals panel disagreed.",
"credit": "Collection of the Supreme Court of the United States",
"status": "inherit",
"altTag": "A portrait of Prince taken by Lynn Goldsmith (left) in 1981 and 16 silk-screened images Andy Warhol later created using the photo as a reference.",
"isLoading": false,
"fetchFailed": false
},
"arts_13910811": {
"type": "attachments",
"id": "arts_13910811",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13910811",
"found": true
},
"parent": 13910810,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-160x110.png",
"width": 160,
"mimeType": "image/png",
"height": 110
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-e1648152632878.png",
"width": 1920,
"height": 1321
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-1020x702.png",
"width": 1020,
"mimeType": "image/png",
"height": 702
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-1536x1057.png",
"width": 1536,
"mimeType": "image/png",
"height": 1057
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-1920x1321.png",
"width": 1920,
"mimeType": "image/png",
"height": 1321
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-800x550.png",
"width": 800,
"mimeType": "image/png",
"height": 550
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.18.08-PM-768x528.png",
"width": 768,
"mimeType": "image/png",
"height": 528
}
},
"publishDate": 1647577100,
"modified": 1650919734,
"caption": "Kelly Inouye with two of her new paintings: Michael Jackson in the video for 'Thriller' and Madonna in her 'Lucky Star' clip.",
"description": null,
"title": "Screen-Shot-2022-03-17-at-9.18.08-PM",
"credit": "Courtesy of the artist",
"status": "inherit",
"altTag": "Woman with long brown hair sits on stool in front of large watercolors",
"isLoading": false,
"fetchFailed": false
},
"arts_13870391": {
"type": "attachments",
"id": "arts_13870391",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13870391",
"found": true
},
"parent": 13870385,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/11/maxresdefault-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1574755103,
"modified": 1574755213,
"caption": "Prince in the original 1982 video for '1999'.",
"description": "Prince in the original 1982 video for '1999'.",
"title": "Prince in the original 1982 video for '1999'.",
"credit": "YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13868957": {
"type": "attachments",
"id": "arts_13868957",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13868957",
"found": true
},
"parent": 13868956,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8.jpg",
"width": 1869,
"height": 1402
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/the-beautiful-ones-cover-94fa53295225e3e67411e1bd04551fbe71f6abb8-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1572194185,
"modified": 1572205424,
"caption": "The Beautiful Ones cover",
"description": "\u003cem>The Beautiful Ones \u003c/em>cover",
"title": "The Beautiful Ones cover",
"credit": "Prince and Dan Piepenbring",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13840390": {
"type": "attachments",
"id": "arts_13840390",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13840390",
"found": true
},
"parent": 13840389,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-e1536252959326.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/prince-credit-the-prince-estate-_-allen-beaulieu-8a4ad70d743425dcf1b337ebe6ac97ea91c6e1d3-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1536252404,
"modified": 1536252953,
"caption": "Prince",
"description": "Prince",
"title": "Prince",
"credit": "Allen Beaulieu/The Prince Estate",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13834590": {
"type": "attachments",
"id": "arts_13834590",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13834590",
"found": true
},
"parent": 13834589,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/prince-credit-the-prince-estate-_-allen-beaulieu_wide-36c61e483731677a92b6a65a18127d70f744216c-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1528391768,
"modified": 1528391768,
"caption": null,
"description": "Prince, backstage during his 1999 tour.",
"title": "Prince, backstage during his 1999 tour.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833873": {
"type": "attachments",
"id": "arts_13833873",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833873",
"found": true
},
"parent": 13833869,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-520x345.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 345
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-960x637.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 637
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-375x249.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 249
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04.jpg",
"width": 1300,
"height": 863
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-1020x677.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 677
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-1180x783.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 783
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-1200x797.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 797
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-1180x783.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 783
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/04-240x159.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 159
}
},
"publishDate": 1527723234,
"modified": 1527723362,
"caption": "\"Prince Pre Fame,\" a photography show featuring shots of the musician at the age of 19 opens on June 7, 2018 at the Family Affair gallery in Lower Haight.",
"description": "\"Prince Pre Fame,\" a photography show featuring shots of the musician at the age of 19 opens on June 7, 2018 at the Family Affair gallery in Lower Haight.",
"title": "\"Prince Pre Fame,\" a photography show featuring shots of the musician at the age of 19 opens on June 7, 2018 at the Family Affair gallery in Lower Haight.",
"credit": "Robert Whitman",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833857": {
"type": "attachments",
"id": "arts_13833857",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833857",
"found": true
},
"parent": 13833817,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667.jpg",
"width": 1300,
"height": 731
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/08-e1527720308667-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527720181,
"modified": 1527720444,
"caption": "19-year-old Prince captured outside of Schmitt Music in Minneapolis on the eve of releasing his first album 'For You.'",
"description": "19-year-old Prince captured outside of Schmitt Music in Minneapolis on the eve of releasing his first album 'For You.'",
"title": "19-year-old Prince captured outside of Schmitt Music in Minneapolis on the eve of releasing his first album 'For You.'",
"credit": "Robert Whitman",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829948": {
"type": "attachments",
"id": "arts_13829948",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829948",
"found": true
},
"parent": 13829947,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1524165833,
"modified": 1524166558,
"caption": "Prince performs live at SXSW in 2013.",
"description": "Prince performs live at SXSW in 2013.",
"title": "Prince performs live at SXSW in 2013.",
"credit": "John Sciulli/Getty Images for Samsung",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828092": {
"type": "attachments",
"id": "arts_13828092",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828092",
"found": true
},
"parent": 13828091,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa.jpg",
"width": 2048,
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/gettyimages-620631312_custom-1d142abc892a83676c34b1d5ec3198e8d923c8fa-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1522163690,
"modified": 1522163690,
"caption": null,
"description": "Images of the music superstar at Prince's Paisley Park Museum in Chanhassen, Minn. His death has been ruled accidental by the local medical examiner.",
"title": "Images of the music superstar at Prince's Paisley Park Museum in Chanhassen, Minn. His death has been ruled accidental by the local medical examiner.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13807400": {
"type": "attachments",
"id": "arts_13807400",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13807400",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/IMG_6402-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1504591415,
"modified": 1504591964,
"caption": "Pam the Funkstress performs at Hiero Day 2017.",
"description": "Pam the Funkstress performs at Hiero Day 2017.",
"title": "IMG_6402",
"credit": "Gabe Meline",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13920285": {
"type": "authors",
"id": "byline_arts_13920285",
"meta": {
"override": true
},
"slug": "byline_arts_13920285",
"name": "Nina Totenberg",
"isLoading": false
},
"byline_arts_13870385": {
"type": "authors",
"id": "byline_arts_13870385",
"meta": {
"override": true
},
"slug": "byline_arts_13870385",
"name": "Michel Martin, Robert Baldwin III",
"isLoading": false
},
"byline_arts_13868956": {
"type": "authors",
"id": "byline_arts_13868956",
"meta": {
"override": true
},
"slug": "byline_arts_13868956",
"name": "Tanya Ballard Brown",
"isLoading": false
},
"byline_arts_13840389": {
"type": "authors",
"id": "byline_arts_13840389",
"meta": {
"override": true
},
"slug": "byline_arts_13840389",
"name": "Ann Powers",
"isLoading": false
},
"byline_arts_13834589": {
"type": "authors",
"id": "byline_arts_13834589",
"meta": {
"override": true
},
"slug": "byline_arts_13834589",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13829947": {
"type": "authors",
"id": "byline_arts_13829947",
"meta": {
"override": true
},
"slug": "byline_arts_13829947",
"name": "Stephen Thompson",
"isLoading": false
},
"byline_arts_13828091": {
"type": "authors",
"id": "byline_arts_13828091",
"meta": {
"override": true
},
"slug": "byline_arts_13828091",
"name": "Merrit Kennedy",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"akrigbaum": {
"type": "authors",
"id": "11510",
"meta": {
"index": "authors_1716337520",
"id": "11510",
"found": true
},
"name": "Ashleyanne Krigbaum",
"firstName": "Ashleyanne",
"lastName": "Krigbaum",
"slug": "akrigbaum",
"email": "akrigbaum@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "Producer, Rightnowish",
"bio": "Ashleyanne Krigbaum is the producer of \u003cem>\u003ca href=\"http://kqed.org/rightnowish\">Rightnowish\u003c/a>\u003c/em>. \u003cem> \u003c/em>She has also made podcasts for Noise Pop, Salon, and award-winning audio tours for SFMOMA, Smithsonian, and the de Young Museum. From 2015 to 2018, she was an announcer and local host of NPR's\u003cem> All Things Considered\u003c/em> at KALW. When she's not making podcasts, she's DJing vinyl at dance parties around the Bay Area.",
"avatar": "https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g",
"twitter": "wambamash",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Ashleyanne Krigbaum | KQED",
"description": "Producer, Rightnowish",
"ogImgSrc": "https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/akrigbaum"
},
"bloewinsohn": {
"type": "authors",
"id": "11904",
"meta": {
"index": "authors_1716337520",
"id": "11904",
"found": true
},
"name": "Briana Loewinsohn",
"firstName": "Briana",
"lastName": "Loewinsohn",
"slug": "bloewinsohn",
"email": "brianabreaks@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/939d84e992d1263b5df583828709edae706c0bba1db57ec593f24f34274ef0ec?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Briana Loewinsohn | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/939d84e992d1263b5df583828709edae706c0bba1db57ec593f24f34274ef0ec?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/939d84e992d1263b5df583828709edae706c0bba1db57ec593f24f34274ef0ec?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bloewinsohn"
}
},
"pagesReducer": {
"arts_tag_prince": {
"type": "terms",
"id": "arts_1424",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1424",
"score": 9.558721
},
"featImg": null,
"name": "Prince",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1436,
"slug": "prince",
"isLoading": false,
"title": "Prince",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=prince",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13968236": {
"type": "posts",
"id": "arts_13968236",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968236",
"score": null,
"sort": [
1732028446000
]
},
"guestAuthors": [],
"slug": "closed-movie-theaters-united-artists-ua-downtown-berkeley",
"title": "‘Movie Theaters We Have Lost’: United Artists in Berkeley",
"publishDate": 1732028446,
"format": "aside",
"headTitle": "‘Movie Theaters We Have Lost’: United Artists in Berkeley | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "Briana Loewinsohn illustrates her first moviegoing experience: seeing ‘Purple Rain’ at the UA, now closed.",
"status": "publish",
"parent": 0,
"modified": 1731971535,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 80
},
"headData": {
"title": "Remembering the United Artists Movie Theater in Berkeley | KQED",
"description": "Briana Loewinsohn illustrates her first-ever moviegoing experience: seeing ‘Purple Rain’ at the UA.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Remembering the United Artists Movie Theater in Berkeley %%page%% %%sep%% KQED",
"socialDescription": "Briana Loewinsohn illustrates her first-ever moviegoing experience: seeing ‘Purple Rain’ at the UA.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Movie Theaters We Have Lost’: United Artists in Berkeley",
"datePublished": "2024-11-19T07:00:46-08:00",
"dateModified": "2024-11-18T15:12:15-08:00",
"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/13968236/closed-movie-theaters-united-artists-ua-downtown-berkeley",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\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>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968236/closed-movie-theaters-united-artists-ua-downtown-berkeley",
"authors": [
"11904"
],
"categories": [
"arts_1",
"arts_74",
"arts_1564",
"arts_70"
],
"tags": [
"arts_1270",
"arts_10331",
"arts_10278",
"arts_5544",
"arts_22368",
"arts_1424"
],
"featImg": "arts_13968237",
"label": "arts"
},
"arts_13920285": {
"type": "posts",
"id": "arts_13920285",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920285",
"score": null,
"sort": [
1665594112000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1665594112,
"format": "standard",
"title": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity",
"headTitle": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity | KQED",
"content": "\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>[aside postID='arts_11514986']Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>[aside postID='arts_13863015']As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 865,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705006279,
"excerpt": "Images Andy Warhol created of Prince are at the heart of a case the Supreme Court will examine on Wednesday. Warhol used a black-and-white portrait taken by Lynn Goldsmith as a reference point.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Images Andy Warhol created of Prince are at the heart of a case the Supreme Court will examine on Wednesday. Warhol used a black-and-white portrait taken by Lynn Goldsmith as a reference point.",
"title": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity",
"datePublished": "2022-10-12T10:01:52-07:00",
"dateModified": "2024-01-11T12:51:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-supreme-court-meets-andy-warhol-prince-and-a-case-that-could-threaten-creativity",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1127508725&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 12 Oct 2022 05:00:26 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 12 Oct 2022 11:08:51 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/10/12/1127508725/prince-andy-warhol-supreme-court-copyright?ft=nprml&f=1127508725",
"nprImageAgency": "Collection of the Supreme Court of the United States",
"nprStoryId": "1127508725",
"nprByline": "Nina Totenberg",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 12 Oct 2022 11:08:00 -0400",
"path": "/arts/13920285/the-supreme-court-meets-andy-warhol-prince-and-a-case-that-could-threaten-creativity",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11514986",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\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 foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13863015",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920285/the-supreme-court-meets-andy-warhol-prince-and-a-case-that-could-threaten-creativity",
"authors": [
"byline_arts_13920285"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_70"
],
"tags": [
"arts_3752",
"arts_1424",
"arts_6470"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13920286",
"label": "arts_137"
},
"arts_13910810": {
"type": "posts",
"id": "arts_13910810",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13910810",
"score": null,
"sort": [
1651071604000
]
},
"guestAuthors": [],
"slug": "kelly-inouye-mtv-generation-1980s-artist-watercolor",
"title": "Kelly Inouye’s Giant Watercolors Recall the Power of ’80s MTV",
"publishDate": 1651071604,
"format": "standard",
"headTitle": "Kelly Inouye’s Giant Watercolors Recall the Power of ’80s MTV | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The first time I stood in a room with the outsized icons of \u003ca href=\"https://www.kellyinouye.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Inouye\u003c/a>’s \u003ci>MTV Generation\u003c/i>, a show of large-scale watercolor paintings, I was immediately transported back to my childhood. Back to 1983 and my cousin’s living room floor for the premiere of Michael Jackson’s “Thriller” video. To my family couch the first time we all witnessed Boy George finger-snapping his way through “Karma Chameleon.” (“Is that a man or a woman?” my dad asked no one in particular.) To the countless Saturday mornings when I’d wake up early to catch a glimpse of Public Enemy on \u003cem>Yo! MTV Raps\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13865253']For people like me who grew up in the ’80s, awed and impressed by the pop idols of the period, gazing upon Inouye’s latest work is a visceral experience. Here, the haze that watercolors naturally yield evoke an intense nostalgia. The portraits become a DeLorean back to a time when music was curated by—and filtered through—an all-powerful marketing machine that decided who was cool and what records Americans bought. They’re also a reminder of the excitement of catching your favorite music videos in the years when watching anything on demand was impossible.\u003c/p>\n\u003cp>“It felt transgressive to watch MTV when it first came out because it was so scandalous,” Inouye says during a studio visit with KQED Arts as she was finishing the work for a solo show at San Francisco’s Marrow Gallery. “There is a different cultural zeitgeist today. It’s not a collective culture anymore. I thought about making smaller paintings and more [of them], but I didn’t feel like that would convey the power and the strength that was wielded by MTV.”\u003c/p>\n\u003cfigure id=\"attachment_13910812\" class=\"wp-caption aligncenter\" style=\"max-width: 736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png\" alt=\"Vertical painting on paper made with black watercolor\" width=\"736\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png 736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM-160x287.png 160w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">A watercolor rendition of Janet Jackson in her ‘Rhythm Nation 1814’ days. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Generation MTV\u003c/em> features imposing renditions of Madonna, Michael Jackson, Duran Duran, Boy George, Prince and the Revolution, Twisted Sister, Janet Jackson and Public Enemy. The paintings—supported by a grant from the San Francisco Arts Commission—are presented in the chronological order (1981–1989) of the moments and videos Inouye based them on. And while most of her subjects were the biggest stars of the decade, that’s not the only reason Inouye selected them.\u003c/p>\n\u003cp>“If you think about all of these artists,” she explains, “they were not people who were elevated in society. I wanted to include the Revolution with Prince because they were such a diverse, interesting, alternative group of people. Wendy and Lisa were gay and together on screen—that never happened before. Culture Club had a multi-ethnicity that reflected the ‘United Colors of Benetton’ tone of the time. That’s what I felt like the future would be like, but it’s not,” Inouye continues. “That was part of the inclination for me to do this—the world now feels different to the one I was promised when I was a kid.”\u003c/p>\n\u003cfigure id=\"attachment_13910813\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png\" alt=\"Watercolor painting of singer in hat\" width=\"1002\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-768x934.png 768w\" sizes=\"(max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Inouye’s watercolor painting of Boy George. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inouye has spent much of the last 20 years examining and exploring pop culture from a personal perspective. Her last show before the pandemic focused on \u003ca href=\"https://www.kqed.org/arts/13865253/watercolors-find-empowerment-in-female-professional-wrestlers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Gorgeous Ladies of Wrestling\u003c/em>\u003c/a>. Prior to that, she focused her energy on painting memorable \u003ca href=\"https://www.kellyinouye.com/sitcom-series\" target=\"_blank\" rel=\"noopener noreferrer\">moments from popular TV shows of the 1970s and ’80s\u003c/a>. In 2015, she painted \u003ca href=\"https://www.kellyinouye.com/art-on-market-street-poster-series\" target=\"_blank\" rel=\"noopener noreferrer\">stills from San Francisco movies\u003c/a> including \u003cem>Dirty Harry\u003c/em>, \u003cem>Milk\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> for display in bus shelters along Market Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Inouye refers to \u003cem>MTV Generation\u003c/em> as “by far the most influential set of images from my lifetime.” To do them justice during the creative process, the artist immersed herself in a soundtrack of music from—and podcasts about—the ’80s. She also devoured books that analyzed the era, including \u003cem>Outlaw Culture\u003c/em> by bell hooks and Questlove’s \u003cem>Music is History\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_10561']“I was trying to feed my brain with stuff that communicated the feeling that I wanted to paint,” Inouye says. “With watercolor, it’s fleeting, right? If you don’t touch it at the right time, it doesn’t have the same feeling.”\u003c/p>\n\u003cp>\u003cem>MTV Generation\u003c/em> is likely not the end of Inouye’s examination of the channel’s influence on pop culture (then and now). “I feel like I’ve just scratched the surface,” she says. “There’s really a lot to do here. A lot of directions to take it. And I mean, that’s a good feeling. Being finished with paintings for a show, and I’m still excited.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MTV Generation’ is on view May 4—June 4 at Marrow Gallery (548 Irving Street, San Francisco), with an opening reception at 5pm on May 7. Visitors are invited to record their own MTV memories for a future book. \u003ca href=\"https://www.marrowgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The painter’s new work explores the icons who emerged in MTV’s early years—and what they represent in 2022.",
"status": "publish",
"parent": 0,
"modified": 1726771214,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 870
},
"headData": {
"title": "Kelly Inouye Revists 80s MTV Icons in Large-Scale Watercolors | KQED",
"description": "The painter’s new work explores the icons who emerged in MTV’s early years—and what they represent in 2022.",
"ogTitle": "Kelly Inouye’s Giant Watercolors Recall the Power of ’80s MTV",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Kelly Inouye’s Giant Watercolors Recall the Power of ’80s MTV",
"twDescription": "",
"twImgId": "",
"socialTitle": "Kelly Inouye Revists 80s MTV Icons in Large-Scale Watercolors %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kelly Inouye’s Giant Watercolors Recall the Power of ’80s MTV",
"datePublished": "2022-04-27T08:00:04-07:00",
"dateModified": "2024-09-19T11:40:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13910810/kelly-inouye-mtv-generation-1980s-artist-watercolor",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stood in a room with the outsized icons of \u003ca href=\"https://www.kellyinouye.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Inouye\u003c/a>’s \u003ci>MTV Generation\u003c/i>, a show of large-scale watercolor paintings, I was immediately transported back to my childhood. Back to 1983 and my cousin’s living room floor for the premiere of Michael Jackson’s “Thriller” video. To my family couch the first time we all witnessed Boy George finger-snapping his way through “Karma Chameleon.” (“Is that a man or a woman?” my dad asked no one in particular.) To the countless Saturday mornings when I’d wake up early to catch a glimpse of Public Enemy on \u003cem>Yo! MTV Raps\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13865253",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For people like me who grew up in the ’80s, awed and impressed by the pop idols of the period, gazing upon Inouye’s latest work is a visceral experience. Here, the haze that watercolors naturally yield evoke an intense nostalgia. The portraits become a DeLorean back to a time when music was curated by—and filtered through—an all-powerful marketing machine that decided who was cool and what records Americans bought. They’re also a reminder of the excitement of catching your favorite music videos in the years when watching anything on demand was impossible.\u003c/p>\n\u003cp>“It felt transgressive to watch MTV when it first came out because it was so scandalous,” Inouye says during a studio visit with KQED Arts as she was finishing the work for a solo show at San Francisco’s Marrow Gallery. “There is a different cultural zeitgeist today. It’s not a collective culture anymore. I thought about making smaller paintings and more [of them], but I didn’t feel like that would convey the power and the strength that was wielded by MTV.”\u003c/p>\n\u003cfigure id=\"attachment_13910812\" class=\"wp-caption aligncenter\" style=\"max-width: 736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png\" alt=\"Vertical painting on paper made with black watercolor\" width=\"736\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png 736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM-160x287.png 160w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">A watercolor rendition of Janet Jackson in her ‘Rhythm Nation 1814’ days. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Generation MTV\u003c/em> features imposing renditions of Madonna, Michael Jackson, Duran Duran, Boy George, Prince and the Revolution, Twisted Sister, Janet Jackson and Public Enemy. The paintings—supported by a grant from the San Francisco Arts Commission—are presented in the chronological order (1981–1989) of the moments and videos Inouye based them on. And while most of her subjects were the biggest stars of the decade, that’s not the only reason Inouye selected them.\u003c/p>\n\u003cp>“If you think about all of these artists,” she explains, “they were not people who were elevated in society. I wanted to include the Revolution with Prince because they were such a diverse, interesting, alternative group of people. Wendy and Lisa were gay and together on screen—that never happened before. Culture Club had a multi-ethnicity that reflected the ‘United Colors of Benetton’ tone of the time. That’s what I felt like the future would be like, but it’s not,” Inouye continues. “That was part of the inclination for me to do this—the world now feels different to the one I was promised when I was a kid.”\u003c/p>\n\u003cfigure id=\"attachment_13910813\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png\" alt=\"Watercolor painting of singer in hat\" width=\"1002\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-768x934.png 768w\" sizes=\"(max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Inouye’s watercolor painting of Boy George. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inouye has spent much of the last 20 years examining and exploring pop culture from a personal perspective. Her last show before the pandemic focused on \u003ca href=\"https://www.kqed.org/arts/13865253/watercolors-find-empowerment-in-female-professional-wrestlers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Gorgeous Ladies of Wrestling\u003c/em>\u003c/a>. Prior to that, she focused her energy on painting memorable \u003ca href=\"https://www.kellyinouye.com/sitcom-series\" target=\"_blank\" rel=\"noopener noreferrer\">moments from popular TV shows of the 1970s and ’80s\u003c/a>. In 2015, she painted \u003ca href=\"https://www.kellyinouye.com/art-on-market-street-poster-series\" target=\"_blank\" rel=\"noopener noreferrer\">stills from San Francisco movies\u003c/a> including \u003cem>Dirty Harry\u003c/em>, \u003cem>Milk\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> for display in bus shelters along Market Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Inouye refers to \u003cem>MTV Generation\u003c/em> as “by far the most influential set of images from my lifetime.” To do them justice during the creative process, the artist immersed herself in a soundtrack of music from—and podcasts about—the ’80s. She also devoured books that analyzed the era, including \u003cem>Outlaw Culture\u003c/em> by bell hooks and Questlove’s \u003cem>Music is History\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_10561",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I was trying to feed my brain with stuff that communicated the feeling that I wanted to paint,” Inouye says. “With watercolor, it’s fleeting, right? If you don’t touch it at the right time, it doesn’t have the same feeling.”\u003c/p>\n\u003cp>\u003cem>MTV Generation\u003c/em> is likely not the end of Inouye’s examination of the channel’s influence on pop culture (then and now). “I feel like I’ve just scratched the surface,” she says. “There’s really a lot to do here. A lot of directions to take it. And I mean, that’s a good feeling. Being finished with paintings for a show, and I’m still excited.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MTV Generation’ is on view May 4—June 4 at Marrow Gallery (548 Irving Street, San Francisco), with an opening reception at 5pm on May 7. Visitors are invited to record their own MTV memories for a future book. \u003ca href=\"https://www.marrowgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13910810/kelly-inouye-mtv-generation-1980s-artist-watercolor",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10493",
"arts_10278",
"arts_4417",
"arts_8572",
"arts_4919",
"arts_1424",
"arts_585"
],
"featImg": "arts_13910811",
"label": "arts_140"
},
"arts_13870385": {
"type": "posts",
"id": "arts_13870385",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13870385",
"score": null,
"sort": [
1574777018000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1574777018,
"format": "standard",
"title": "Prince's '1999' is Remastered, Reissued and Packed With 35 New Songs",
"headTitle": "Prince’s ‘1999’ is Remastered, Reissued and Packed With 35 New Songs | KQED",
"content": "\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i_o69a9ZFFA\u003c/p>\n\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAdboa7jWZo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 520,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705021772,
"excerpt": "Prince archivist Michael Howe says: \"The guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Prince archivist Michael Howe says: "The guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand."",
"title": "Prince's '1999' is Remastered, Reissued and Packed With 35 New Songs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prince's '1999' is Remastered, Reissued and Packed With 35 New Songs",
"datePublished": "2019-11-26T06:03:38-08:00",
"dateModified": "2024-01-11T17:09:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "princes-1999-is-remastered-reissued-and-packed-with-35-new-songs",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=782469032&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 24 Nov 2019 17:23:00 -0500",
"nprLastModifiedDate": "Mon, 25 Nov 2019 11:27:40 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/11/24/782469032/prince-archivist-to-re-release-1999?ft=nprml&f=782469032",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/11/20191124_atc_prince_archivist_to_re-release_1999.mp3?orgId=1&topicId=1106&d=313&p=2&story=782469032&ft=nprml&f=782469032",
"nprImageAgency": "Courtesy of the artist.",
"nprAudioM3u": "http://api.npr.org/m3u/1782469033-742a7c.m3u?orgId=1&topicId=1106&d=313&p=2&story=782469032&ft=nprml&f=782469032",
"nprStoryId": "782469032",
"nprByline": "Michel Martin, Robert Baldwin III",
"sticky": false,
"audioTrackLength": 313,
"nprImageCredit": "Allan Beaulieu",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 25 Nov 2019 11:27:00 -0500",
"path": "/arts/13870385/princes-1999-is-remastered-reissued-and-packed-with-35-new-songs",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/11/20191124_atc_prince_archivist_to_re-release_1999.mp3?orgId=1&topicId=1106&d=313&p=2&story=782469032&ft=nprml&f=782469032",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\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/i_o69a9ZFFA'\n title='//www.youtube.com/embed/i_o69a9ZFFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\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>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\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/vAdboa7jWZo'\n title='//www.youtube.com/embed/vAdboa7jWZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13870385/princes-1999-is-remastered-reissued-and-packed-with-35-new-songs",
"authors": [
"byline_arts_13870385"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_925",
"arts_1424",
"arts_9293"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13870391",
"label": "arts_137"
},
"arts_13868956": {
"type": "posts",
"id": "arts_13868956",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13868956",
"score": null,
"sort": [
1572205722000
]
},
"guestAuthors": [],
"slug": "prince-memoir-the-beautiful-ones-brings-to-life-a-vision-in-ones-mind",
"title": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind",
"publishDate": 1572205722,
"format": "standard",
"headTitle": "Prince Memoir, ‘The Beautiful Ones,’ Brings To Life A Vision In One’s Mind | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>[aside tag='prince' label='More on Prince']\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "You won't get a full picture of Prince from this book, but it does manage to pierce through some of the mystery the renowned artist purposely cultivated around and about himself.",
"status": "publish",
"parent": 0,
"modified": 1726765000,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1094
},
"headData": {
"title": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind | KQED",
"description": "You won't get a full picture of Prince from this book, but it does manage to pierce through some of the mystery the renowned artist purposely cultivated around and about himself.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind",
"datePublished": "2019-10-27T12:48:42-07:00",
"dateModified": "2024-09-19T09:56:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Tanya Ballard Brown",
"nprImageAgency": "Penguin Random House",
"nprStoryId": "771446639",
"nprApiLink": "http://api.npr.org/query?id=771446639&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/10/27/771446639/prince-memoir-the-beautiful-ones-brings-to-life-a-vision-in-one-s-mind?ft=nprml&f=771446639",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 27 Oct 2019 09:39:00 -0400",
"nprStoryDate": "Sun, 27 Oct 2019 09:39:07 -0400",
"nprLastModifiedDate": "Sun, 27 Oct 2019 09:39:07 -0400",
"path": "/arts/13868956/prince-memoir-the-beautiful-ones-brings-to-life-a-vision-in-ones-mind",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"tag": "prince",
"label": "More on Prince "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\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 introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13868956/prince-memoir-the-beautiful-ones-brings-to-life-a-vision-in-ones-mind",
"authors": [
"byline_arts_13868956"
],
"categories": [
"arts_1",
"arts_73",
"arts_7862",
"arts_75"
],
"tags": [
"arts_928",
"arts_4566",
"arts_9054",
"arts_596",
"arts_1424"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13868957",
"label": "arts_137"
},
"arts_13840389": {
"type": "posts",
"id": "arts_13840389",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13840389",
"score": null,
"sort": [
1536253238000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1536253238,
"format": "standard",
"title": "Hear Prince's Intimate Home Recording Of The Song '17 Days'",
"headTitle": "Hear Prince’s Intimate Home Recording Of The Song ’17 Days’ | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/493333311″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>[contextly_sidebar id=”6LDp5OL9qXWD314mcciCSVNBFnskJMA4″]\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 677,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705027282,
"excerpt": "The song appears on an upcoming 35-minute collection of cassette recordings Prince made at his home studio.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The song appears on an upcoming 35-minute collection of cassette recordings Prince made at his home studio.",
"title": "Hear Prince's Intimate Home Recording Of The Song '17 Days' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hear Prince's Intimate Home Recording Of The Song '17 Days'",
"datePublished": "2018-09-06T10:00:38-07:00",
"dateModified": "2024-01-11T18:41:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hear-princes-intimate-home-recording-of-the-song-17-days",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=645171290&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ann Powers",
"nprStoryDate": "Thu, 06 Sep 2018 10:00:19 -0400",
"nprLastModifiedDate": "Thu, 06 Sep 2018 10:00:19 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/09/06/645171290/hear-princes-intimate-home-recording-of-the-song-17-days?ft=nprml&f=645171290",
"nprImageAgency": "The Prince Estate",
"nprImageCredit": "Allen Beaulieu",
"nprStoryId": "645171290",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 06 Sep 2018 10:00:00 -0400",
"path": "/arts/13840389/hear-princes-intimate-home-recording-of-the-song-17-days",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/493333311″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/493333311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\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>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13840389/hear-princes-intimate-home-recording-of-the-song-17-days",
"authors": [
"byline_arts_13840389"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1424"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13840390",
"label": "arts_137"
},
"arts_13834589": {
"type": "posts",
"id": "arts_13834589",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13834589",
"score": null,
"sort": [
1528392775000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1528392775,
"format": "standard",
"title": "Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep'",
"headTitle": "Prince, With Just a Piano and a Sniffle, Interprets ‘Mary Don’t You Weep’ | KQED",
"content": "\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 272,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705027686,
"excerpt": "On the late legend's 60th birthday, his estate announced a new album of barebones recordings featuring just him and a piano.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On the late legend's 60th birthday, his estate announced a new album of barebones recordings featuring just him and a piano.",
"title": "Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep'",
"datePublished": "2018-06-07T10:32:55-07:00",
"dateModified": "2024-01-11T18:48:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "prince-with-just-a-piano-and-a-sniffle-interprets-mary-dont-you-weep",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=617882065&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Thu, 07 Jun 2018 12:14:42 -0400",
"nprLastModifiedDate": "Thu, 07 Jun 2018 12:14:42 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/06/07/617882065/prince-with-a-cold-and-longing-for-eggs-interprets-mary-dont-you-weep?ft=nprml&f=617882065",
"nprImageAgency": "Courtesy of the artist",
"nprImageCredit": "Allen Beaulieu",
"nprStoryId": "617882065",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 07 Jun 2018 12:14:00 -0400",
"path": "/arts/13834589/prince-with-just-a-piano-and-a-sniffle-interprets-mary-dont-you-weep",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13834589/prince-with-just-a-piano-and-a-sniffle-interprets-mary-dont-you-weep",
"authors": [
"byline_arts_13834589"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596",
"arts_1009",
"arts_1424"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13834590",
"label": "arts_137"
},
"arts_13833869": {
"type": "posts",
"id": "arts_13833869",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833869",
"score": null,
"sort": [
1527733805000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1527733805,
"format": "audio",
"title": "On the Air: Gabe & Suzie's Do List Picks for June 1, 2018",
"headTitle": "On the Air: Gabe & Suzie’s Do List Picks for June 1, 2018 | KQED",
"content": "\u003cp>This week we’re talking about a ballet beyond words, a play about the 1950s “red scare,” an unstoppable jazz pianist and more. Joining me in the studio is Suzie Racho, producer-director for The California Report Magazine, and founding producer of The Do List.\u003c/p>\n\u003cp>Listen to the show above, and click through the links below for more details on this week’s picks!\u003c/p>\n\u003cp>\u003cstrong>May 31–June 2\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833843/a-dance-for-the-deaf-at-oakland-ballets-scene-heard\" rel=\"noopener\" target=\"_blank\">Oakland Ballet’s Scene & Heard at the Odell Johnson Performing Arts Center at Laney College\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 4\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/remembering-david-wiegand/\" rel=\"noopener\" target=\"_blank\">A tribute to David Wiegand at the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833850/you-cant-stop-jazz-legend-ahmad-jamal\" rel=\"noopener\" target=\"_blank\">Jazz Pianist Ahmad Jamal at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 6-July 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833853/mccarthy-eras-damage-brought-onstage-in-silicon-valley\" rel=\"noopener\" target=\"_blank\">\u003cem>FINKS\u003c/em> at the Mountain View Center for the Performing Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 7-July 7\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833817/prince-before-the-fame-shown-in-new-photo-exhibition\" rel=\"noopener\" target=\"_blank\">\u003cem>Prince Pre Fame\u003c/em> photography show at the Family Affair gallery in Lower Haight\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 8-9\u003c/strong>: \u003ca href=\"https://sonoma.huichica.com/\" rel=\"noopener\" target=\"_blank\">The Huichica Music Festival at Gundlach Bundschu winery in Sonoma\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 163,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705027737,
"excerpt": "This week we’re talking about a ballet beyond words, a play about the 1950s “red scare,” an unstoppable jazz pianist and more.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week we’re talking about a ballet beyond words, a play about the 1950s “red scare,” an unstoppable jazz pianist and more.",
"title": "On the Air: Gabe & Suzie's Do List Picks for June 1, 2018 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Air: Gabe & Suzie's Do List Picks for June 1, 2018",
"datePublished": "2018-05-30T19:30:05-07:00",
"dateModified": "2024-01-11T18:48:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-air-gabe-suzies-do-list-picks-for-june-1-2018",
"status": "publish",
"sticky": false,
"path": "/arts/13833869/on-the-air-gabe-suzies-do-list-picks-for-june-1-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we’re talking about a ballet beyond words, a play about the 1950s “red scare,” an unstoppable jazz pianist and more. Joining me in the studio is Suzie Racho, producer-director for The California Report Magazine, and founding producer of The Do List.\u003c/p>\n\u003cp>Listen to the show above, and click through the links below for more details on this week’s picks!\u003c/p>\n\u003cp>\u003cstrong>May 31–June 2\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833843/a-dance-for-the-deaf-at-oakland-ballets-scene-heard\" rel=\"noopener\" target=\"_blank\">Oakland Ballet’s Scene & Heard at the Odell Johnson Performing Arts Center at Laney College\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 4\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/remembering-david-wiegand/\" rel=\"noopener\" target=\"_blank\">A tribute to David Wiegand at the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833850/you-cant-stop-jazz-legend-ahmad-jamal\" rel=\"noopener\" target=\"_blank\">Jazz Pianist Ahmad Jamal at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 6-July 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833853/mccarthy-eras-damage-brought-onstage-in-silicon-valley\" rel=\"noopener\" target=\"_blank\">\u003cem>FINKS\u003c/em> at the Mountain View Center for the Performing Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 7-July 7\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833817/prince-before-the-fame-shown-in-new-photo-exhibition\" rel=\"noopener\" target=\"_blank\">\u003cem>Prince Pre Fame\u003c/em> photography show at the Family Affair gallery in Lower Haight\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 8-9\u003c/strong>: \u003ca href=\"https://sonoma.huichica.com/\" rel=\"noopener\" target=\"_blank\">The Huichica Music Festival at Gundlach Bundschu winery in Sonoma\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833869/on-the-air-gabe-suzies-do-list-picks-for-june-1-2018",
"authors": [
"11510"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1118",
"arts_1420",
"arts_596",
"arts_918",
"arts_1424",
"arts_1334",
"arts_626"
],
"featImg": "arts_13833873",
"label": "arts_140"
},
"arts_13833817": {
"type": "posts",
"id": "arts_13833817",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833817",
"score": null,
"sort": [
1527732059000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1527732059,
"format": "standard",
"title": "Prince, Before the Fame, Shown in New Photo Exhibition",
"headTitle": "Prince, Before the Fame, Shown in New Photo Exhibition | KQED",
"content": "\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B0Rqc5uQJ_k\u003c/p>\n\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Always an original, Prince ultimately decided to use his own photographer for the album—but these images of him are some of our favorites.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Prince: Pre-Fame\u003c/em> is up at Family Affair gallery on Haight Street, right next to Groove Merchant records, with a grand opening on Thursday, June 7 (Prince’s birthday) and running through July 7. \u003ca href=\"https://www.eventbrite.com/e/prince-pre-fame-gallery-opening-tickets-46543054529\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 316,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705027740,
"excerpt": "These early images of Prince, at just 19 years old, reveal the musician's determination and confidence.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "These early images of Prince, at just 19 years old, reveal the musician's determination and confidence.",
"title": "Prince, Before the Fame, Shown in New Photo Exhibition | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prince, Before the Fame, Shown in New Photo Exhibition",
"datePublished": "2018-05-30T19:00:59-07:00",
"dateModified": "2024-01-11T18:49:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "prince-before-the-fame-shown-in-new-photo-exhibition",
"status": "publish",
"sticky": false,
"path": "/arts/13833817/prince-before-the-fame-shown-in-new-photo-exhibition",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \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/B0Rqc5uQJ_k'\n title='//www.youtube.com/embed/B0Rqc5uQJ_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\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>Always an original, Prince ultimately decided to use his own photographer for the album—but these images of him are some of our favorites.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Prince: Pre-Fame\u003c/em> is up at Family Affair gallery on Haight Street, right next to Groove Merchant records, with a grand opening on Thursday, June 7 (Prince’s birthday) and running through July 7. \u003ca href=\"https://www.eventbrite.com/e/prince-pre-fame-gallery-opening-tickets-46543054529\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833817/prince-before-the-fame-shown-in-new-photo-exhibition",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_70"
],
"tags": [
"arts_3649",
"arts_596",
"arts_822",
"arts_1424",
"arts_1146"
],
"featImg": "arts_13833857",
"label": "arts_140"
},
"arts_13829947": {
"type": "posts",
"id": "arts_13829947",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829947",
"score": null,
"sort": [
1524166663000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524166663,
"format": "standard",
"title": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U'",
"headTitle": "From the Vaults, a Showstopper: Hear Prince Perform ‘Nothing Compares 2 U’ | KQED",
"content": "\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cpGA0azFdCs\u003c/p>\n\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 352,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705028050,
"excerpt": "As news swirls about culpability for Prince's death, his estate has released a major find: a long-lost 1984 recording of his classic composition, along with rare video footage from his rehearsals.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As news swirls about culpability for Prince's death, his estate has released a major find: a long-lost 1984 recording of his classic composition, along with rare video footage from his rehearsals.",
"title": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U'",
"datePublished": "2018-04-19T12:37:43-07:00",
"dateModified": "2024-01-11T18:54:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=603959932&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Stephen Thompson",
"nprStoryDate": "Thu, 19 Apr 2018 13:00:00 -0400",
"nprLastModifiedDate": "Thu, 19 Apr 2018 13:45:27 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/04/19/603959932/from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u?ft=nprml&f=603959932",
"nprImageAgency": "Getty Images for Samsung",
"nprImageCredit": "John Sciulli",
"nprStoryId": "603959932",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Apr 2018 13:45:00 -0400",
"path": "/arts/13829947/from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\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/cpGA0azFdCs'\n title='//www.youtube.com/embed/cpGA0azFdCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829947/from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u",
"authors": [
"byline_arts_13829947"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1424"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829948",
"label": "arts_137"
},
"arts_13828091": {
"type": "posts",
"id": "arts_13828091",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828091",
"score": null,
"sort": [
1522163899000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1522163899,
"format": "standard",
"title": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
"headTitle": "Prince Died With ‘Exceedingly High’ Level Of Fentanyl, Report States | KQED",
"content": "\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 512,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705028188,
"excerpt": "The confidential toxicology information was reported by AP less than a week after a local official said Prince's death investigation remains active. His family is considering a wrongful death lawsuit.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The confidential toxicology information was reported by AP less than a week after a local official said Prince's death investigation remains active. His family is considering a wrongful death lawsuit.",
"title": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
"datePublished": "2018-03-27T08:18:19-07:00",
"dateModified": "2024-01-11T18:56:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "prince-died-with-exceedingly-high-level-of-fentanyl-report-states",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=597249429&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Merrit Kennedy",
"nprStoryDate": "Tue, 27 Mar 2018 09:59:23 -0400",
"nprLastModifiedDate": "Tue, 27 Mar 2018 11:08:09 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/03/27/597249429/prince-died-with-exceedingly-high-level-of-fentanyl-report-states?ft=nprml&f=597249429",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Adam Bettcher",
"nprStoryId": "597249429",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 27 Mar 2018 11:08:00 -0400",
"path": "/arts/13828091/prince-died-with-exceedingly-high-level-of-fentanyl-report-states",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\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 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828091/prince-died-with-exceedingly-high-level-of-fentanyl-report-states",
"authors": [
"byline_arts_13828091"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_596",
"arts_4364",
"arts_1424",
"arts_4363"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13828092",
"label": "arts_137"
},
"arts_13818092": {
"type": "posts",
"id": "arts_13818092",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13818092",
"score": null,
"sort": [
1514000147000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1514000147,
"format": "image",
"title": "Pam the Funkstress, Pioneering Bay Area DJ, Passes Away",
"headTitle": "Pam the Funkstress, Pioneering Bay Area DJ, Passes Away | KQED",
"content": "\u003cp>Pam Warren, aka \u003ca href=\"https://www.pamthefunkstress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pam the Funkstress\u003c/a>, a trailblazing DJ from the Peninsula, passed away on December 22 from organ failure according to friends familiar with her condition.\u003c/p>\n\u003cp>“It’s a massive loss for Bay Area hip-hop; it’s a huge loss for women in hip-hop; it’s a huge, huge loss for the DJ community,” says DJ Sake, a longtime friend of Pam’s who threw a weekly party with her in the late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13818093\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg\" alt=\"Pam the Funkstress with the Coup in the early '90s.\" width=\"456\" height=\"546\" class=\"size-full wp-image-13818093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-375x449.jpg 375w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress with the Coup in the early ’90s. \u003ccite>(Courtesy of pamthefunkstress.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pam first rose to prominence as a battle DJ in the late ’80s and early ’90s, eventually going to become the DJ for the Coup, the Boots Riley-fronted political hip-hop group. The Coup was one of the first Oakland rap acts to gain national recognition with controversial releases like \u003cem>Kill My Landlord\u003c/em>. \u003c/p>\n\u003cp>In the years that followed, Pam became an important fixture in Oakland’s hip-hop scene. But music wasn’t her only passion: She was also a talented chef — sometimes even bringing her famous mac ‘n’ cheese to friends’ DJ gigs — and went on to become the chef and co-owner of Piccadilly Catering in Foster City around 2009.\u003c/p>\n\u003cp>In recent years, Pam had been active in the Bay Area nightlife scene as a club DJ. After she played an afterparty for a Prince concert in 2016, \u003ca href=\"https://pitchfork.com/thepitch/1096-meet-pam-the-funkstress-princes-new-dj/\" rel=\"noopener noreferrer\" target=\"_blank\">Prince personally invited her to accompany him on tour\u003c/a>; she was his tour DJ on his final concert series, A Piano and a Microphone, up until his untimely passing in 2016, earning her the nickname Purple Pam. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/x3JpxrHDUyM\u003c/p>\n\u003cp>In November, Pam posted on social media that she was cancelling all upcoming shows due to undisclosed health issues. She went into critical condition shortly after, but underwent a seemingly successful organ transplant surgery that month.\u003c/p>\n\u003cp>News of Pam’s death spread like wildfire today on social media, with tributes pouring in from fans, artists, and hip-hop elders alike. \u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BdBu58rH7kd/?taken-by=djshellheart\n\u003c/div>\n\u003cp>https://twitter.com/RawwG/status/944378788913168385\u003c/p>\n\u003cp>https://twitter.com/dreamhampton/status/944402085763862530\u003c/p>\n\u003cp>https://twitter.com/KevChoice/status/944396422950129664\u003c/p>\n\u003cp>https://twitter.com/williemaze/status/944383587230429184\u003c/p>\n\u003cp>Pam’s family and the Coup have yet to release an official statement. We’ll update this post as more information becomes available. \u003c/p>\n\u003cp>\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\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 410,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705028848,
"excerpt": "Friends and fellow musicians mourn the trailblazing female DJ, who was best known for her work with the Coup and Prince.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Friends and fellow musicians mourn the trailblazing female DJ, who was best known for her work with the Coup and Prince.",
"title": "Pam the Funkstress, Pioneering Bay Area DJ, Passes Away | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pam the Funkstress, Pioneering Bay Area DJ, Passes Away",
"datePublished": "2017-12-22T19:35:47-08:00",
"dateModified": "2024-01-11T19:07:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pam-the-funkstress-pioneering-bay-area-dj-passes-away",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pam Warren, aka \u003ca href=\"https://www.pamthefunkstress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pam the Funkstress\u003c/a>, a trailblazing DJ from the Peninsula, passed away on December 22 from organ failure according to friends familiar with her condition.\u003c/p>\n\u003cp>“It’s a massive loss for Bay Area hip-hop; it’s a huge loss for women in hip-hop; it’s a huge, huge loss for the DJ community,” says DJ Sake, a longtime friend of Pam’s who threw a weekly party with her in the late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13818093\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg\" alt=\"Pam the Funkstress with the Coup in the early '90s.\" width=\"456\" height=\"546\" class=\"size-full wp-image-13818093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-375x449.jpg 375w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress with the Coup in the early ’90s. \u003ccite>(Courtesy of pamthefunkstress.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pam first rose to prominence as a battle DJ in the late ’80s and early ’90s, eventually going to become the DJ for the Coup, the Boots Riley-fronted political hip-hop group. The Coup was one of the first Oakland rap acts to gain national recognition with controversial releases like \u003cem>Kill My Landlord\u003c/em>. \u003c/p>\n\u003cp>In the years that followed, Pam became an important fixture in Oakland’s hip-hop scene. But music wasn’t her only passion: She was also a talented chef — sometimes even bringing her famous mac ‘n’ cheese to friends’ DJ gigs — and went on to become the chef and co-owner of Piccadilly Catering in Foster City around 2009.\u003c/p>\n\u003cp>In recent years, Pam had been active in the Bay Area nightlife scene as a club DJ. After she played an afterparty for a Prince concert in 2016, \u003ca href=\"https://pitchfork.com/thepitch/1096-meet-pam-the-funkstress-princes-new-dj/\" rel=\"noopener noreferrer\" target=\"_blank\">Prince personally invited her to accompany him on tour\u003c/a>; she was his tour DJ on his final concert series, A Piano and a Microphone, up until his untimely passing in 2016, earning her the nickname Purple Pam. \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/x3JpxrHDUyM'\n title='//www.youtube.com/embed/x3JpxrHDUyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In November, Pam posted on social media that she was cancelling all upcoming shows due to undisclosed health issues. She went into critical condition shortly after, but underwent a seemingly successful organ transplant surgery that month.\u003c/p>\n\u003cp>News of Pam’s death spread like wildfire today on social media, with tributes pouring in from fans, artists, and hip-hop elders alike. \u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BdBu58rH7kd/?taken-by=djshellheart"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "944378788913168385"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "944402085763862530"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "944396422950129664"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "944383587230429184"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Pam’s family and the Coup have yet to release an official statement. We’ll update this post as more information becomes available. \u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away",
"authors": [
"11387"
],
"categories": [
"arts_1564"
],
"tags": [
"arts_8505",
"arts_1998",
"arts_2852",
"arts_1118",
"arts_831",
"arts_596",
"arts_1143",
"arts_1424"
],
"featImg": "arts_13807400",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=prince": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 16,
"relation": "eq"
},
"items": [
"arts_13968236",
"arts_13920285",
"arts_13910810",
"arts_13870385",
"arts_13868956",
"arts_13840389",
"arts_13834589",
"arts_13833869",
"arts_13833817",
"arts_13829947",
"arts_13828091",
"arts_13818092"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_prince": {
"isLoading": true
},
"arts_1424": {
"type": "terms",
"id": "arts_1424",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1424",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prince",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1436,
"slug": "prince",
"isLoading": false,
"link": "/arts/tag/prince"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_10331": {
"type": "terms",
"id": "arts_10331",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "closures",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "closures Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10343,
"slug": "closures",
"isLoading": false,
"link": "/arts/tag/closures"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_5544": {
"type": "terms",
"id": "arts_5544",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5544",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movie theaters",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movie theaters Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5556,
"slug": "movie-theaters",
"isLoading": false,
"link": "/arts/tag/movie-theaters"
},
"arts_22368": {
"type": "terms",
"id": "arts_22368",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22368",
"found": true
},
"relationships": {},
"name": "Movie Theaters We Have Lost",
"slug": "movie-theaters-we-have-lost",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Movie Theaters We Have Lost | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22380,
"isLoading": false,
"link": "/arts/tag/movie-theaters-we-have-lost"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_3752": {
"type": "terms",
"id": "arts_3752",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3752",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Andy Warhol",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Andy Warhol Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3764,
"slug": "andy-warhol",
"isLoading": false,
"link": "/arts/tag/andy-warhol"
},
"arts_6470": {
"type": "terms",
"id": "arts_6470",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6470",
"found": true
},
"relationships": {},
"featImg": null,
"name": "supreme court",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "supreme court Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6482,
"slug": "supreme-court",
"isLoading": false,
"link": "/arts/tag/supreme-court"
},
"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_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_4417": {
"type": "terms",
"id": "arts_4417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "janet jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "janet jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4429,
"slug": "janet-jackson",
"isLoading": false,
"link": "/arts/tag/janet-jackson"
},
"arts_8572": {
"type": "terms",
"id": "arts_8572",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8572",
"found": true
},
"relationships": {},
"featImg": null,
"name": "madonna",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "madonna Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8584,
"slug": "madonna",
"isLoading": false,
"link": "/arts/tag/madonna"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_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_925": {
"type": "terms",
"id": "arts_925",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "925",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 943,
"slug": "pop",
"isLoading": false,
"link": "/arts/tag/pop"
},
"arts_9293": {
"type": "terms",
"id": "arts_9293",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9293",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reissues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reissues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9305,
"slug": "reissues",
"isLoading": false,
"link": "/arts/tag/reissues"
},
"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_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_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_4566": {
"type": "terms",
"id": "arts_4566",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4566",
"found": true
},
"relationships": {},
"featImg": null,
"name": "literature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "literature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4578,
"slug": "literature",
"isLoading": false,
"link": "/arts/tag/literature"
},
"arts_9054": {
"type": "terms",
"id": "arts_9054",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9054",
"found": true
},
"relationships": {},
"featImg": null,
"name": "memoir",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "memoir Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9066,
"slug": "memoir",
"isLoading": false,
"link": "/arts/tag/memoir"
},
"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_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_1009": {
"type": "terms",
"id": "arts_1009",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1009",
"found": true
},
"relationships": {},
"featImg": null,
"name": "preview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "preview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1026,
"slug": "preview",
"isLoading": false,
"link": "/arts/tag/preview"
},
"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_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_918": {
"type": "terms",
"id": "arts_918",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "918",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland Ballet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Ballet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 936,
"slug": "oakland-ballet",
"isLoading": false,
"link": "/arts/tag/oakland-ballet"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_3649": {
"type": "terms",
"id": "arts_3649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "galleries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "galleries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3661,
"slug": "galleries",
"isLoading": false,
"link": "/arts/tag/galleries"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_4364": {
"type": "terms",
"id": "arts_4364",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4364",
"found": true
},
"relationships": {},
"featImg": null,
"name": "opioid abuse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "opioid abuse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4376,
"slug": "opioid-abuse",
"isLoading": false,
"link": "/arts/tag/opioid-abuse"
},
"arts_4363": {
"type": "terms",
"id": "arts_4363",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4363",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the purple one",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the purple one Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4375,
"slug": "the-purple-one",
"isLoading": false,
"link": "/arts/tag/the-purple-one"
},
"arts_8505": {
"type": "terms",
"id": "arts_8505",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8505",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area hip-hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area hip-hop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8517,
"slug": "bay-area-hip-hop",
"isLoading": false,
"link": "/arts/tag/bay-area-hip-hop"
},
"arts_1998": {
"type": "terms",
"id": "arts_1998",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1998",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Boots Riley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Boots Riley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2010,
"slug": "boots-riley",
"isLoading": false,
"link": "/arts/tag/boots-riley"
},
"arts_2852": {
"type": "terms",
"id": "arts_2852",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2852",
"found": true
},
"relationships": {},
"featImg": null,
"name": "DJs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "DJs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2864,
"slug": "djs",
"isLoading": false,
"link": "/arts/tag/djs"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}