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_11811815": {
"type": "attachments",
"id": "arts_11811815",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11811815",
"found": true
},
"parent": 11811594,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-960x537.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 537
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520.jpg",
"width": 1800,
"height": 1007
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-1180x660.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 660
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-800x448.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 448
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-1180x660.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 660
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-768x430.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 430
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/TheBox-e1468450022520-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1468449571,
"modified": 1468450121,
"caption": "The kind Victor Santiago (Carlos Aguirre) starts to lose his bearings in 'The Box' at Z Space.",
"description": "The kind Victor Santiago (Carlos Aguirre) starts to lose his bearings in 'The Box' at Z Space.",
"title": "TheBox",
"credit": "Photo: Carla Hernández Ramírez",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11794817": {
"type": "attachments",
"id": "arts_11794817",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11794817",
"found": true
},
"parent": 11794501,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Mitski.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1468092905,
"modified": 1468092933,
"caption": "Mitski performs at the Starline Social Club in Oakland, July 8, 2016.",
"description": "Mitski performs at the Starline Social Club in Oakland, July 8, 2016.",
"title": "Mitski.MAIN",
"credit": "Gabe Meline",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11788383": {
"type": "attachments",
"id": "arts_11788383",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11788383",
"found": true
},
"parent": 11788380,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467960284,
"modified": 1467960326,
"caption": "Ricky (Julian Dennison) and Hec (Sam Neill) in 'Hunt For The Wilderpeople.'",
"description": null,
"title": "v1-0046_150521hftwp17_93474",
"credit": "Photo: Kane Skennar/The Orchard",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11783733": {
"type": "attachments",
"id": "arts_11783733",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11783733",
"found": true
},
"parent": 11783485,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467865331,
"modified": 1467865417,
"caption": "A scene from 'Zero Days,' a Magnolia Pictures release. ",
"description": null,
"title": "1",
"credit": "Photo courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11758036": {
"type": "attachments",
"id": "arts_11758036",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11758036",
"found": true
},
"parent": 11757858,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282.jpg",
"width": 680,
"height": 382
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/18061__dap0720-e1467311763282-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467311345,
"modified": 1467311542,
"caption": "Sam (L. Peter Callender) stares down his foolish and cruel friend Harold (Andrew Humann) in 'Master Harold and the Boys' at the Aurora Theatre.",
"description": "Sam (L. Peter Callender) stares down his foolish and cruel friend Harold (Andrew Humann) in 'Master Harold and the Boys' at the Aurora Theatre.",
"title": "18061__dap0720",
"credit": "Photo: David Allen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11751055": {
"type": "attachments",
"id": "arts_11751055",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11751055",
"found": true
},
"parent": 11751052,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467174989,
"modified": 1467175022,
"caption": "Dave (Danny DeVito) in 'Wiener-Dog.'",
"description": null,
"title": "wd_02630",
"credit": "Photo: Linda Callerus/Amazon Studios & IFC Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11735766": {
"type": "attachments",
"id": "arts_11735766",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11735766",
"found": true
},
"parent": 11735764,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131.jpg",
"width": 4011,
"height": 2671
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/IMG_4701-e1466876077131-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466875986,
"modified": 1466876062,
"caption": "Members of the San Francisco Gay Men's Chorus perform 'It's Raining Men' as part of 'Heartthrobs: The Biggest Boy Ban Ever' at the Nourse Theater in San Francisco",
"description": "Members of the San Francisco Gay Men's Chorus perform 'It's Raining Men' as part of 'Heartthrobs: The Biggest Boy Ban Ever' at the Nourse Theater in San Francisco",
"title": "IMG_4701",
"credit": "Photo: Chloe Veltman/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11722121": {
"type": "attachments",
"id": "arts_11722121",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11722121",
"found": true
},
"parent": 13856920,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466611312,
"modified": 1557421390,
"caption": "John Benson performs with his milk-covered drum at Garden of Memory in 2016.",
"description": "John Benson performs with his milk-covered drum at Garden of Memory in 2016.",
"title": "Garden.JohnBenson.MAIN",
"credit": "Kristin Shaw",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11714759": {
"type": "attachments",
"id": "arts_11714759",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11714759",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Carpenter.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466470766,
"modified": 1466470845,
"caption": "John Carpenter performs themes from 'They Live' at the Fox Theater in Oakland on June 17, 2016.",
"description": "John Carpenter performs themes from 'They Live' at the Fox Theater in Oakland on June 17, 2016.",
"title": "Carpenter.MAIN",
"credit": "Brian Henderson",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11714069": {
"type": "attachments",
"id": "arts_11714069",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11714069",
"found": true
},
"parent": 11713053,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover.jpg",
"width": 1000,
"height": 563
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/SoSCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466458136,
"modified": 1466459505,
"caption": "Anna Vasquez (L) and Cassie Rivera, two weeks\nbefore turning themselves in to begin their sentences.",
"description": null,
"title": "SoSCover",
"credit": "Courtesy: Southwest of Salem",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11688059": {
"type": "attachments",
"id": "arts_11688059",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11688059",
"found": true
},
"parent": 11686611,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670.jpg",
"width": 5184,
"height": 2916
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/Othello2-1-e1465953215670-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1465953041,
"modified": 1465956144,
"caption": "Othello (Ronald Kirk) surveys the world around him in Ubuntu Theater Project's 'Othello.'",
"description": "Othello (Ronald Kirk) surveys the world around him in Ubuntu Theater Project's 'Othello.'",
"title": "Othello2",
"credit": "Photo: Courtesy of Ubuntu Theater Project",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11696573": {
"type": "attachments",
"id": "arts_11696573",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11696573",
"found": true
},
"parent": 11696268,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466108827,
"modified": 1466108870,
"caption": "Royalty Hightower in 'The Fits.'",
"description": null,
"title": "thefits_still_01",
"credit": "Photo: Oscilloscope Laboratories",
"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_11788380": {
"type": "authors",
"id": "byline_arts_11788380",
"meta": {
"override": true
},
"slug": "byline_arts_11788380",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_11751052": {
"type": "authors",
"id": "byline_arts_11751052",
"meta": {
"override": true
},
"slug": "byline_arts_11751052",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_11722114": {
"type": "authors",
"id": "byline_arts_11722114",
"meta": {
"override": true
},
"slug": "byline_arts_11722114",
"name": "Sam Lefebvre",
"isLoading": false
},
"byline_arts_11713053": {
"type": "authors",
"id": "byline_arts_11713053",
"meta": {
"override": true
},
"slug": "byline_arts_11713053",
"name": "Emily Wilson",
"isLoading": false
},
"byline_arts_11696268": {
"type": "authors",
"id": "byline_arts_11696268",
"meta": {
"override": true
},
"slug": "byline_arts_11696268",
"name": "Andrew Lapin",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "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"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307792
},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"title": "review",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 102
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 102
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://hls.kqed.org/hls/kqed_app/playlist.m3u8",
"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_11811594": {
"type": "posts",
"id": "arts_11811594",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11811594",
"score": null,
"sort": [
1468522849000
]
},
"guestAuthors": [],
"slug": "solitary-confinement-play-the-box-thinks-outside-the-box-for-a-bit",
"title": "Solitary Confinement Play 'The Box' Thinks Outside the Box...For a Bit",
"publishDate": 1468522849,
"format": "standard",
"headTitle": "Solitary Confinement Play ‘The Box’ Thinks Outside the Box…For a Bit | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Sarah's Shourd's passionate, dramatic exploration of life behind bars starts off engagingly, but eventually succumbs to melodrama and cliches ",
"status": "publish",
"parent": 0,
"modified": 1726770943,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1255
},
"headData": {
"title": "Solitary Confinement Play 'The Box' Thinks Outside the Box...For a Bit | KQED",
"description": "Sarah's Shourd's passionate, dramatic exploration of life behind bars starts off engagingly, but eventually succumbs to melodrama and cliches ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Solitary Confinement Play 'The Box' Thinks Outside the Box...For a Bit",
"datePublished": "2016-07-14T12:00:49-07:00",
"dateModified": "2024-09-19T11:35:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11811594/solitary-confinement-play-the-box-thinks-outside-the-box-for-a-bit",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\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>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11811594/solitary-confinement-play-the-box-thinks-outside-the-box-for-a-bit",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11811815",
"label": "arts_140"
},
"arts_11794501": {
"type": "posts",
"id": "arts_11794501",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11794501",
"score": null,
"sort": [
1468094433000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1468094433,
"format": "standard",
"title": "Live Review: Mitski Kills 'em Softly at the Starline in Oakland",
"headTitle": "Live Review: Mitski Kills ’em Softly at the Starline in Oakland | KQED",
"content": "\u003cp>“Do you know how many hours I’ve spent,” the girl behind me exclaimed to her friend, “laying on the floor listening to this song, like AAAHHHHHHHHHHH!”\u003c/p>\n\u003cp>“It’s floor music,” her friend replied, “for sure.”\u003c/p>\n\u003cp>Onstage at the Starline Social Club on Friday night, Mitski had begun “\u003ca href=\"https://www.youtube.com/watch?v=L05DH-MvPeA\" target=\"_blank\" rel=\"noopener\">Francis Forever\u003c/a>,” singing about the usual themes: trying to get over somebody, staying up all night, searching for sunlight when everything feels dark. All 400 people in the former ballroom stood in rapt silence, pierced only by the occasional rumble of a truck outside.\u003c/p>\n\u003cp>Mitski is a 25-year-old Japanese-born songwriter who’s quickly becoming 2016’s breakout indie star. Her sophomore album \u003cem>Puberty 2\u003c/em> is the type of inventive confessional collection of personal odes that both old critics and young fans can love, with frank allusions to \u003ca href=\"https://www.youtube.com/watch?v=EJ0O2vDT0VE\" target=\"_blank\" rel=\"noopener\">the fleeting nature of sex\u003c/a> and the delicacy of emotions. It is, to be sure, floor music, the type that resonates deepest when absorbed alone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_hDHm9MD0I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such was apparent by the crowd, which cheered loudly for songs but stood docile and attentive throughout the night. Not that Mitski doesn’t have loud, agitating rock songs — “Your Best American Girl” is the sort of huge-sounding liberation of spirit that wouldn’t feel out of place covered by, say, \u003ca href=\"https://www.youtube.com/watch?v=o5osPtE7kXI\" target=\"_blank\" rel=\"noopener\">Bleachers\u003c/a> — but the spare instrumentation and quieter sound levels at the Starline focused her songs on the mind and heart instead of the body.\u003c/p>\n\u003cp>That push-pull, of emotional gigantism and singer-songwriter intimacy, toyed throughout Mitski’s set. Like a folksinger in a cafe, she told stories of getting ox bone soup before the show, of being sick (“not in the head,” she joked, “but physically”), and of her nomadic upbringing in China, Taiwan, Malaysia and Turkey. Joined by just guitar and drums, her band sounded far more like the gentle float of the Pixies’ “\u003ca href=\"https://www.youtube.com/watch?v=hvHJOus1pRo\" target=\"_blank\" rel=\"noopener\">Wave of Mutilation (UK Surf Mix)\u003c/a>” than “Debaser” (which was \u003ca href=\"https://www.youtube.com/watch?v=ZhRPFKPXWdM\" target=\"_blank\" rel=\"noopener\">how her previous, louder band sometimes came off\u003c/a>). When she sang plaintively about crying like a tall child, during “First Love/Late Spring,” generations of “confessional” female singers from Joni Mitchell to Liz Phair to Angel Olsen felt present.\u003c/p>\n\u003cfigure id=\"attachment_11794818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Mitski.Inline-800x450.jpg\" alt=\"Mitski performs at the Starline Social Club in Oakland, July 8, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11794818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitski performs at the Starline Social Club in Oakland, July 8, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet how massive is Mitski? (I don’t just mean in the way she easily sold out two nights in the Bay Area, with people \u003ca href=\"https://www.facebook.com/events/221071891576112/?active_tab=posts\" target=\"_blank\" rel=\"noopener\">begging for tickets\u003c/a>.) When the chorus kicked in on her cover of Calvin Harris’ “How Deep is Your Love,” or the way she drew out a pained wail at the end of “Drunk Walk Home,” she channeled largesse in near-cosmic ways. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It contracted for a three-song closing block played solo, and after her final song, “Last Words of a Shooting Star,” the crowd filed out under the art-deco lighting fixtures, Mitski’s last lyrics still rolling in the air: \u003c/p>\n\u003cblockquote>\u003cp>I always wanted to die clean and pretty\u003cbr>\nBut I’d be too busy on working days\u003cbr>\nSo I am relieved that the turbulence wasn’t forecasted\u003cbr>\nI couldn’t have changed anyways\u003cbr>\nI am relieved that I’d left my room tidy\u003cbr>\nGoodbye\u003c/p>\u003c/blockquote>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 582,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705033659,
"excerpt": "The 25-year-old singer is having a massive year, and in Oakland, swung from delivering quiet, confessional odes to channeling largesse in near-cosmic ways. \r\n",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 25-year-old singer is having a massive year, and in Oakland, swung from delivering quiet, confessional odes to channeling largesse in near-cosmic ways. \r\n",
"title": "Live Review: Mitski Kills 'em Softly at the Starline in Oakland | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live Review: Mitski Kills 'em Softly at the Starline in Oakland",
"datePublished": "2016-07-09T13:00:33-07:00",
"dateModified": "2024-01-11T20:27:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "live-review-mitski-kills-em-softly-at-the-starline-in-oakland",
"status": "publish",
"sticky": false,
"path": "/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Do you know how many hours I’ve spent,” the girl behind me exclaimed to her friend, “laying on the floor listening to this song, like AAAHHHHHHHHHHH!”\u003c/p>\n\u003cp>“It’s floor music,” her friend replied, “for sure.”\u003c/p>\n\u003cp>Onstage at the Starline Social Club on Friday night, Mitski had begun “\u003ca href=\"https://www.youtube.com/watch?v=L05DH-MvPeA\" target=\"_blank\" rel=\"noopener\">Francis Forever\u003c/a>,” singing about the usual themes: trying to get over somebody, staying up all night, searching for sunlight when everything feels dark. All 400 people in the former ballroom stood in rapt silence, pierced only by the occasional rumble of a truck outside.\u003c/p>\n\u003cp>Mitski is a 25-year-old Japanese-born songwriter who’s quickly becoming 2016’s breakout indie star. Her sophomore album \u003cem>Puberty 2\u003c/em> is the type of inventive confessional collection of personal odes that both old critics and young fans can love, with frank allusions to \u003ca href=\"https://www.youtube.com/watch?v=EJ0O2vDT0VE\" target=\"_blank\" rel=\"noopener\">the fleeting nature of sex\u003c/a> and the delicacy of emotions. It is, to be sure, floor music, the type that resonates deepest when absorbed alone.\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/u_hDHm9MD0I'\n title='//www.youtube.com/embed/u_hDHm9MD0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such was apparent by the crowd, which cheered loudly for songs but stood docile and attentive throughout the night. Not that Mitski doesn’t have loud, agitating rock songs — “Your Best American Girl” is the sort of huge-sounding liberation of spirit that wouldn’t feel out of place covered by, say, \u003ca href=\"https://www.youtube.com/watch?v=o5osPtE7kXI\" target=\"_blank\" rel=\"noopener\">Bleachers\u003c/a> — but the spare instrumentation and quieter sound levels at the Starline focused her songs on the mind and heart instead of the body.\u003c/p>\n\u003cp>That push-pull, of emotional gigantism and singer-songwriter intimacy, toyed throughout Mitski’s set. Like a folksinger in a cafe, she told stories of getting ox bone soup before the show, of being sick (“not in the head,” she joked, “but physically”), and of her nomadic upbringing in China, Taiwan, Malaysia and Turkey. Joined by just guitar and drums, her band sounded far more like the gentle float of the Pixies’ “\u003ca href=\"https://www.youtube.com/watch?v=hvHJOus1pRo\" target=\"_blank\" rel=\"noopener\">Wave of Mutilation (UK Surf Mix)\u003c/a>” than “Debaser” (which was \u003ca href=\"https://www.youtube.com/watch?v=ZhRPFKPXWdM\" target=\"_blank\" rel=\"noopener\">how her previous, louder band sometimes came off\u003c/a>). When she sang plaintively about crying like a tall child, during “First Love/Late Spring,” generations of “confessional” female singers from Joni Mitchell to Liz Phair to Angel Olsen felt present.\u003c/p>\n\u003cfigure id=\"attachment_11794818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Mitski.Inline-800x450.jpg\" alt=\"Mitski performs at the Starline Social Club in Oakland, July 8, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11794818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Mitski.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitski performs at the Starline Social Club in Oakland, July 8, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet how massive is Mitski? (I don’t just mean in the way she easily sold out two nights in the Bay Area, with people \u003ca href=\"https://www.facebook.com/events/221071891576112/?active_tab=posts\" target=\"_blank\" rel=\"noopener\">begging for tickets\u003c/a>.) When the chorus kicked in on her cover of Calvin Harris’ “How Deep is Your Love,” or the way she drew out a pained wail at the end of “Drunk Walk Home,” she channeled largesse in near-cosmic ways. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It contracted for a three-song closing block played solo, and after her final song, “Last Words of a Shooting Star,” the crowd filed out under the art-deco lighting fixtures, Mitski’s last lyrics still rolling in the air: \u003c/p>\n\u003cblockquote>\u003cp>I always wanted to die clean and pretty\u003cbr>\nBut I’d be too busy on working days\u003cbr>\nSo I am relieved that the turbulence wasn’t forecasted\u003cbr>\nI couldn’t have changed anyways\u003cbr>\nI am relieved that I’d left my room tidy\u003cbr>\nGoodbye\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11794817",
"label": "arts"
},
"arts_11788380": {
"type": "posts",
"id": "arts_11788380",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11788380",
"score": null,
"sort": [
1467990056000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1467990056,
"format": "standard",
"title": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople'",
"headTitle": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In ‘Hunt For The Wilderpeople’ | KQED",
"content": "\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\u003c/p>\n\u003cp>https://youtu.be/tICv8QH3oM0\u003c/p>\n\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 731,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033671,
"excerpt": "An unlikely pair brave New Zealand's bush country while relentlessly pursued by a social worker.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An unlikely pair brave New Zealand's bush country while relentlessly pursued by a social worker.",
"title": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople'",
"datePublished": "2016-07-08T08:00:56-07:00",
"dateModified": "2024-01-11T20:27:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeople",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=482801151&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 23 Jun 2016 17:00:00 -0400",
"nprLastModifiedDate": "Fri, 24 Jun 2016 13:36:29 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/23/482801151/a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeopl?ft=nprml&f=482801151",
"nprImageAgency": "The Orchard",
"nprImageCredit": "Kane Skennar",
"nprStoryId": "482801151",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Jun 2016 13:36:00 -0400",
"path": "/arts/11788380/a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeople",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\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/tICv8QH3oM0'\n title='//www.youtube.com/embed/tICv8QH3oM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\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>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11788380/a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeople",
"authors": [
"byline_arts_11788380"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11788383",
"label": "arts_137"
},
"arts_11783485": {
"type": "posts",
"id": "arts_11783485",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11783485",
"score": null,
"sort": [
1467918029000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1467918029,
"format": "standard",
"title": "T-Minus 'Zero Days,' Our Terrifying Sci-Fi Future is Already Here",
"headTitle": "T-Minus ‘Zero Days,’ Our Terrifying Sci-Fi Future is Already Here | KQED",
"content": "\u003cp>\u003ci>\u003ca href=\"http://www.zerodaysfilm.com/\" target=\"_blank\" rel=\"noopener\">Zero Days\u003c/a>\u003c/i>, the newest offering from prolific director Alex Gibney, advertises itself as a documentary thriller — a real-life \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=tAcEzhQ7oqA\" target=\"_blank\" rel=\"noopener\">WarGames\u003c/a>\u003c/i> complete with intrigue, assassinations and high-stakes computer hacking. Centered on \u003ca href=\"http://www.nytimes.com/2012/06/01/world/middleeast/obama-ordered-wave-of-cyberattacks-against-iran.html?_r=0\" target=\"_blank\" rel=\"noopener\">Stuxnet\u003c/a>, a top-secret cyberweapon developed by the U.S. and Israeli governments to cripple Iran’s nuclear program, the film tells the story of how Stuxnet “went viral” in the truest, least “funny cat video” kind of way. \u003c/p>\n\u003cp>Gibney’s film makes a strong argument for why we as an American public should care about covert cyberattacks on foreign nations. But the journey to that point — told through talking heads and ominous technical visualizations — is a disjointed and strident one that may leave viewers feeling paralyzed, if not frantically typing “How do I get off the grid?” into their nearest search engines.\u003c/p>\n\u003cfigure id=\"attachment_11783735\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/3_1200.jpg\" alt=\"A scene from 'Zero Days,' showing five Stuxnet infections centered around Natanz, Iran.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days,’ showing five Stuxnet infections centered around Natanz, Iran. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The malicious (and still classified) code’s nascent days began in 2006, when then-President George W. Bush authorized a project to remotely and anonymously sabotage Natanz, Iran’s nuclear enrichment facility, with the goal of delaying the nation’s ability to build nuclear weapons. In collaboration with Israel’s cyber unit, the National Security Agency wormed the earliest versions of Stuxnet inside Natanz in 2008. \u003c/p>\n\u003cp>The code \u003ca href=\"http://www.nytimes.com/interactive/2012/06/01/world/middleeast/how-a-secret-cyberwar-program-worked.html\" target=\"_blank\" rel=\"noopener\">specifically targeted the facility’s centrifuges\u003c/a>, causing the spinning cylinders to self-destruct while sending “all good” reports to the facility’s control computers. After successful attacks at the end of Bush’s presidency, Obama reauthorized the program when he entered office. Stuxnet continued to wreak maddening havoc on Natanz. Nuclear scientists and engineers were fired. Hundreds of centrifuges were taken out of commission. No one could determine what was going wrong.\u003c/p>\n\u003cfigure id=\"attachment_11783734\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/2_1200.jpg\" alt=\"An N.S.A. source from 'Zero Days,' a Magnolia Pictures release. \" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An NSA source from ‘Zero Days,’ a Magnolia Pictures release. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 2010, Stuxnet broke loose from Natanz, infecting computers around the world without even a download or a click (a hacking capability termed “\u003ca href=\"https://en.wikipedia.org/wiki/Zero-day_(computing)\" target=\"_blank\" rel=\"noopener\">zero-day\u003c/a>” for the amount of notice one receives before a system succumbs). The top-secret cyberweapon became the object of intense fascination for security analysts like Eric Chien and Liam O’Murchu of Symantec Research Labs, who guide the film through the tricky, often technical facets of the project. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chien and O’Murchu are also the ones to give the code its popular name. In my opinion, Stuxnet is uncomfortably close to Skynet (\u003ci>Terminator\u003c/i>’s self-aware and humanity-hunting artificial intelligence). Inside U.S. security forces, it was known by the sporty moniker of “Olympic Games.” \u003c/p>\n\u003cfigure id=\"attachment_11783738\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg\" alt=\"A scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Zero Days\u003c/i>, the explainer portions of the documentary are accompanied by \u003ci>Hackers\u003c/i> and \u003ci>Matrix\u003c/i>-esque visualizations of nefarious code. Those letters and numbers could be Stuxnet, or complete nonsense; it’s impossible for the untrained eye to tell. Similarly dramatic, yet visually ambiguous images demonstrate Stuxnet’s destructive power. A balloon over-inflates and explodes — by my count — seven times in slow motion. Gibney then cuts to footage of an expanding mushroom cloud, a shape of convenient similarity. \u003c/p>\n\u003cp>The parallels between cyberwarfare and nuclear warfare come to the fore in the documentary’s final chapter. The advent of nuclear weapons during the Cold War sparked vigorous national debates, the film’s talking heads argue. Civilian involvement in that conversation led U.S. and Soviet governments to deeply consider the power they wielded and ultimately institute systems to regulate it. We can’t have this same discussion about cyberweapons today because the entire program is “hideously overclassified,” says former CIA and NSA director Michael Hayden.\u003c/p>\n\u003cfigure id=\"attachment_11783736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/4_1200.jpg\" alt=\"'New York Times' correspondent David Sanger in a scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘New York Times’ correspondent David Sanger in a scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the most terrifying part of \u003ci>Zero Days\u003c/i> isn’t the list of hypothetical disasters put forward, it’s the fact that our current vulnerability was essentially created by our own government. Once Iran learned their scientists weren’t failing them, and that there really was a secret American plot to undermine Iran’s nuclear program, they created their own cyberwarfare division, launching \u003ca href=\"http://www.nytimes.com/2013/05/13/us/cyberattacks-on-rise-against-us-corporations.html\" target=\"_blank\" rel=\"noopener\">attacks of their own\u003c/a>. Here Gibney cuts to still images of Kim Jong-un and Vladimir Putin looking intently at computer screens, leaving us to imagine the innumerable threats to civilian infrastructure, communication networks and economic systems that are all fair game in the dark and secretive world of \u003ci>Zero Days\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/ikzAcK0l-ZM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Zero Days\u003c/b> opens Friday, July 8 at Landmark Embarcadero in San Francisco, Landmark Shattuck in Berkeley and Camera 3 in San Jose.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 814,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705033682,
"excerpt": "Documentary director Alex Gibney paints a grim picture of international relations in an era of unchecked, highly classified cyberwarfare. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Documentary director Alex Gibney paints a grim picture of international relations in an era of unchecked, highly classified cyberwarfare. ",
"title": "T-Minus 'Zero Days,' Our Terrifying Sci-Fi Future is Already Here | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "T-Minus 'Zero Days,' Our Terrifying Sci-Fi Future is Already Here",
"datePublished": "2016-07-07T12:00:29-07:00",
"dateModified": "2024-01-11T20:28:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "t-minus-zero-days-our-terrifying-sci-fi-future-is-already-here",
"status": "publish",
"sticky": false,
"path": "/arts/11783485/t-minus-zero-days-our-terrifying-sci-fi-future-is-already-here",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003ca href=\"http://www.zerodaysfilm.com/\" target=\"_blank\" rel=\"noopener\">Zero Days\u003c/a>\u003c/i>, the newest offering from prolific director Alex Gibney, advertises itself as a documentary thriller — a real-life \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=tAcEzhQ7oqA\" target=\"_blank\" rel=\"noopener\">WarGames\u003c/a>\u003c/i> complete with intrigue, assassinations and high-stakes computer hacking. Centered on \u003ca href=\"http://www.nytimes.com/2012/06/01/world/middleeast/obama-ordered-wave-of-cyberattacks-against-iran.html?_r=0\" target=\"_blank\" rel=\"noopener\">Stuxnet\u003c/a>, a top-secret cyberweapon developed by the U.S. and Israeli governments to cripple Iran’s nuclear program, the film tells the story of how Stuxnet “went viral” in the truest, least “funny cat video” kind of way. \u003c/p>\n\u003cp>Gibney’s film makes a strong argument for why we as an American public should care about covert cyberattacks on foreign nations. But the journey to that point — told through talking heads and ominous technical visualizations — is a disjointed and strident one that may leave viewers feeling paralyzed, if not frantically typing “How do I get off the grid?” into their nearest search engines.\u003c/p>\n\u003cfigure id=\"attachment_11783735\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/3_1200.jpg\" alt=\"A scene from 'Zero Days,' showing five Stuxnet infections centered around Natanz, Iran.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days,’ showing five Stuxnet infections centered around Natanz, Iran. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The malicious (and still classified) code’s nascent days began in 2006, when then-President George W. Bush authorized a project to remotely and anonymously sabotage Natanz, Iran’s nuclear enrichment facility, with the goal of delaying the nation’s ability to build nuclear weapons. In collaboration with Israel’s cyber unit, the National Security Agency wormed the earliest versions of Stuxnet inside Natanz in 2008. \u003c/p>\n\u003cp>The code \u003ca href=\"http://www.nytimes.com/interactive/2012/06/01/world/middleeast/how-a-secret-cyberwar-program-worked.html\" target=\"_blank\" rel=\"noopener\">specifically targeted the facility’s centrifuges\u003c/a>, causing the spinning cylinders to self-destruct while sending “all good” reports to the facility’s control computers. After successful attacks at the end of Bush’s presidency, Obama reauthorized the program when he entered office. Stuxnet continued to wreak maddening havoc on Natanz. Nuclear scientists and engineers were fired. Hundreds of centrifuges were taken out of commission. No one could determine what was going wrong.\u003c/p>\n\u003cfigure id=\"attachment_11783734\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/2_1200.jpg\" alt=\"An N.S.A. source from 'Zero Days,' a Magnolia Pictures release. \" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An NSA source from ‘Zero Days,’ a Magnolia Pictures release. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 2010, Stuxnet broke loose from Natanz, infecting computers around the world without even a download or a click (a hacking capability termed “\u003ca href=\"https://en.wikipedia.org/wiki/Zero-day_(computing)\" target=\"_blank\" rel=\"noopener\">zero-day\u003c/a>” for the amount of notice one receives before a system succumbs). The top-secret cyberweapon became the object of intense fascination for security analysts like Eric Chien and Liam O’Murchu of Symantec Research Labs, who guide the film through the tricky, often technical facets of the project. \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>Chien and O’Murchu are also the ones to give the code its popular name. In my opinion, Stuxnet is uncomfortably close to Skynet (\u003ci>Terminator\u003c/i>’s self-aware and humanity-hunting artificial intelligence). Inside U.S. security forces, it was known by the sporty moniker of “Olympic Games.” \u003c/p>\n\u003cfigure id=\"attachment_11783738\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg\" alt=\"A scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Zero Days\u003c/i>, the explainer portions of the documentary are accompanied by \u003ci>Hackers\u003c/i> and \u003ci>Matrix\u003c/i>-esque visualizations of nefarious code. Those letters and numbers could be Stuxnet, or complete nonsense; it’s impossible for the untrained eye to tell. Similarly dramatic, yet visually ambiguous images demonstrate Stuxnet’s destructive power. A balloon over-inflates and explodes — by my count — seven times in slow motion. Gibney then cuts to footage of an expanding mushroom cloud, a shape of convenient similarity. \u003c/p>\n\u003cp>The parallels between cyberwarfare and nuclear warfare come to the fore in the documentary’s final chapter. The advent of nuclear weapons during the Cold War sparked vigorous national debates, the film’s talking heads argue. Civilian involvement in that conversation led U.S. and Soviet governments to deeply consider the power they wielded and ultimately institute systems to regulate it. We can’t have this same discussion about cyberweapons today because the entire program is “hideously overclassified,” says former CIA and NSA director Michael Hayden.\u003c/p>\n\u003cfigure id=\"attachment_11783736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/4_1200.jpg\" alt=\"'New York Times' correspondent David Sanger in a scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘New York Times’ correspondent David Sanger in a scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the most terrifying part of \u003ci>Zero Days\u003c/i> isn’t the list of hypothetical disasters put forward, it’s the fact that our current vulnerability was essentially created by our own government. Once Iran learned their scientists weren’t failing them, and that there really was a secret American plot to undermine Iran’s nuclear program, they created their own cyberwarfare division, launching \u003ca href=\"http://www.nytimes.com/2013/05/13/us/cyberattacks-on-rise-against-us-corporations.html\" target=\"_blank\" rel=\"noopener\">attacks of their own\u003c/a>. Here Gibney cuts to still images of Kim Jong-un and Vladimir Putin looking intently at computer screens, leaving us to imagine the innumerable threats to civilian infrastructure, communication networks and economic systems that are all fair game in the dark and secretive world of \u003ci>Zero Days\u003c/i>.\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/ikzAcK0l-ZM'\n title='//www.youtube.com/embed/ikzAcK0l-ZM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Zero Days\u003c/b> opens Friday, July 8 at Landmark Embarcadero in San Francisco, Landmark Shattuck in Berkeley and Camera 3 in San Jose.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11783485/t-minus-zero-days-our-terrifying-sci-fi-future-is-already-here",
"authors": [
"61"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11783733",
"label": "arts"
},
"arts_11757858": {
"type": "posts",
"id": "arts_11757858",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11757858",
"score": null,
"sort": [
1467399639000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1467399639,
"format": "standard",
"title": "What Do Grace Jones and Athol Fugard Have in Common?",
"headTitle": "What Do Grace Jones and Athol Fugard Have in Common? | KQED",
"content": "\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1396,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705033722,
"excerpt": "'The Grace Jones Project' at MOAD and Aurora Theatre's production of 'Master Harold and the Boys' suggest that the pop icon and the playwright might have a lot to talk about if ever they were to meet",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'The Grace Jones Project' at MOAD and Aurora Theatre's production of 'Master Harold and the Boys' suggest that the pop icon and the playwright might have a lot to talk about if ever they were to meet",
"title": "What Do Grace Jones and Athol Fugard Have in Common? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Do Grace Jones and Athol Fugard Have in Common?",
"datePublished": "2016-07-01T12:00:39-07:00",
"dateModified": "2024-01-11T20:28:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "what-do-grace-jones-and-athol-fugard-have-in-common",
"status": "publish",
"sticky": false,
"path": "/arts/11757858/what-do-grace-jones-and-athol-fugard-have-in-common",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\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>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\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> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11757858/what-do-grace-jones-and-athol-fugard-have-in-common",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11758036",
"label": "arts_140"
},
"arts_11751052": {
"type": "posts",
"id": "arts_11751052",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11751052",
"score": null,
"sort": [
1467381625000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1467381625,
"format": "standard",
"title": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in 'Wiener-Dog'",
"headTitle": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in ‘Wiener-Dog’ | KQED",
"content": "\u003cp>The great critic Robert Warshaw once pegged the gangster movie as “the \u003cem>no\u003c/em> to the great American \u003cem>yes\u003c/em> that is stamped so large over our official culture.”\u003c/p>\n\u003cp>Todd Solondz doesn’t make gangster films, but I can’t think of a better way to describe his corrosive domestic comedies — you absolutely should see \u003cem>Welcome to the Dollhouse\u003c/em>, \u003cem>Happiness\u003c/em>, \u003cem>Storytelling\u003c/em> or \u003cem>Palindromes\u003c/em>, but not if you need cheering up about the order of things. Solondz’s territory is the suburb, all tricked out in Have-A-Nice-Day primary colors, but that’s about it for American optimism. From then on it’s \u003cem>no, no, no\u003c/em> all the way for the benighted inhabitants of a crippled American Dream.\u003c/p>\n\u003cp>https://youtu.be/8C7OewoxnKI\u003c/p>\n\u003cp>Solondz doesn’t work in the realist mode — the star of his new movie is a traveling dachshund, cute as a button — but \u003cem>Wiener-Dog\u003c/em> cuts alarmingly close to the, uh, bone of our collective past, present and possible future. \u003cbr>We meet the titular dachshund circling a narrow cage at the pound, looking for comfort. She’s not alone: passed carelessly from hand to hand, the repeatedly renamed pooch serves as the connective tissue between a succession of suburbanites staggering through dark days.\u003c/p>\n\u003cp>Solondz has often used similar scenarios to take apart media-fed pieties about sexual abuse, pornography, abortion, the Holocaust. But Wiener-Dog’s foster parents seem lost and lonely, stuck in the mud of a disconnected anomie. Adopted into the clinically elegant home of a stressed couple (Julie Delpy and Tracy Letts), the dog soon wreaks graphically poopy havoc with their plans to console their small son (Keaton Nigel Cooke), a recent cancer survivor. Which may or may not be why the summarily dumped pooch is renamed Doody by a vet’s assistant named Dawn Wiener. Solondz loves to shift shapes: Memorably played by a teenaged Heather Matarazzo in \u003cem>Welcome to the Dollhouse\u003c/em>, Dawn is now realized by Greta Gerwig, a golden beauty hidden behind horrid glasses and dispiriting, unflattering threads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All grown up in theory, Dawn is kindly but boneless and unfocused, which may explain why she eagerly joins a former classmate and tormentor (Kieran Culkin) on an iffy road trip to the heartland with Doody in tow — until the dog is handed off to the love object’s brother (Connor Long), whose Down Syndrome is rigorously unsentimentalized. From there it’s a quick trot to Professor Schmerz (a very good Danny DeVito), a suffering film instructor and failed screenwriter. \u003cem>Schmerz\u003c/em> means “pain\u003cem>“\u003c/em> in German, so you get the picture, and soon the dog lands in the living room of an old woman played by Ellen Burstyn with a recalcitrant scowl and lank hair. Sick and embittered, she’s plagued by her leeching no-hoper of a granddaughter (Zosia Mamet) and a bunch of identical girlish apparitions, a Stepford Greek chorus reminding her of the better women she might have become on roads not taken.\u003c/p>\n\u003cp>Existentially speaking, Solondz gives no quarter, nor does he mince words about where we’re all headed. His vision of our predicament is bleakly funny and weirdly heartfelt. Ever the pessimist, he’s rarely a cynic. In interview after interview the director has made it clear that his sympathy for dweebs and failures everywhere is rooted in personal experience. And in \u003cem>Wiener-Dog\u003c/em> he’s far more likely to make short work of the film-theory mumbo-jumbo of hipster cinema students than of their hidebound professor, still beavering away at the principles of three-act structure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What do we believe in?” a small boy asks his glibly atheist mother near the beginning of \u003cem>Wiener-Dog\u003c/em>. “Truth, compassion, love,” she answers tenderly, while doling out heedless cruelty to a putative pet. Solondz may be asking who’s rescuing whom here. Is that a ray of hope speeding by these walking wounded, so preoccupied with their own miseries they fail to see that caring for others, canine or human, may be the only redemption? Or is it just a sausage dog on a skateboard?\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 703,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033727,
"excerpt": "Director Todd Solondz follows an adorable dachshund as it passes from one blisteringly lonely suburbanite to another.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Todd Solondz follows an adorable dachshund as it passes from one blisteringly lonely suburbanite to another.",
"title": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in 'Wiener-Dog' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in 'Wiener-Dog'",
"datePublished": "2016-07-01T07:00:25-07:00",
"dateModified": "2024-01-11T20:28:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=482791231&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 23 Jun 2016 17:00:15 -0400",
"nprLastModifiedDate": "Thu, 23 Jun 2016 17:00:15 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/23/482791231/solondzs-wiener-dog-a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos?ft=nprml&f=482791231",
"nprImageAgency": "Amazon Studios & IFC Films ",
"nprImageCredit": "Linda Callerus",
"nprStoryId": "482791231",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 23 Jun 2016 17:00:00 -0400",
"path": "/arts/11751052/a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great critic Robert Warshaw once pegged the gangster movie as “the \u003cem>no\u003c/em> to the great American \u003cem>yes\u003c/em> that is stamped so large over our official culture.”\u003c/p>\n\u003cp>Todd Solondz doesn’t make gangster films, but I can’t think of a better way to describe his corrosive domestic comedies — you absolutely should see \u003cem>Welcome to the Dollhouse\u003c/em>, \u003cem>Happiness\u003c/em>, \u003cem>Storytelling\u003c/em> or \u003cem>Palindromes\u003c/em>, but not if you need cheering up about the order of things. Solondz’s territory is the suburb, all tricked out in Have-A-Nice-Day primary colors, but that’s about it for American optimism. From then on it’s \u003cem>no, no, no\u003c/em> all the way for the benighted inhabitants of a crippled American Dream.\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/8C7OewoxnKI'\n title='//www.youtube.com/embed/8C7OewoxnKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Solondz doesn’t work in the realist mode — the star of his new movie is a traveling dachshund, cute as a button — but \u003cem>Wiener-Dog\u003c/em> cuts alarmingly close to the, uh, bone of our collective past, present and possible future. \u003cbr>We meet the titular dachshund circling a narrow cage at the pound, looking for comfort. She’s not alone: passed carelessly from hand to hand, the repeatedly renamed pooch serves as the connective tissue between a succession of suburbanites staggering through dark days.\u003c/p>\n\u003cp>Solondz has often used similar scenarios to take apart media-fed pieties about sexual abuse, pornography, abortion, the Holocaust. But Wiener-Dog’s foster parents seem lost and lonely, stuck in the mud of a disconnected anomie. Adopted into the clinically elegant home of a stressed couple (Julie Delpy and Tracy Letts), the dog soon wreaks graphically poopy havoc with their plans to console their small son (Keaton Nigel Cooke), a recent cancer survivor. Which may or may not be why the summarily dumped pooch is renamed Doody by a vet’s assistant named Dawn Wiener. Solondz loves to shift shapes: Memorably played by a teenaged Heather Matarazzo in \u003cem>Welcome to the Dollhouse\u003c/em>, Dawn is now realized by Greta Gerwig, a golden beauty hidden behind horrid glasses and dispiriting, unflattering threads.\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>All grown up in theory, Dawn is kindly but boneless and unfocused, which may explain why she eagerly joins a former classmate and tormentor (Kieran Culkin) on an iffy road trip to the heartland with Doody in tow — until the dog is handed off to the love object’s brother (Connor Long), whose Down Syndrome is rigorously unsentimentalized. From there it’s a quick trot to Professor Schmerz (a very good Danny DeVito), a suffering film instructor and failed screenwriter. \u003cem>Schmerz\u003c/em> means “pain\u003cem>“\u003c/em> in German, so you get the picture, and soon the dog lands in the living room of an old woman played by Ellen Burstyn with a recalcitrant scowl and lank hair. Sick and embittered, she’s plagued by her leeching no-hoper of a granddaughter (Zosia Mamet) and a bunch of identical girlish apparitions, a Stepford Greek chorus reminding her of the better women she might have become on roads not taken.\u003c/p>\n\u003cp>Existentially speaking, Solondz gives no quarter, nor does he mince words about where we’re all headed. His vision of our predicament is bleakly funny and weirdly heartfelt. Ever the pessimist, he’s rarely a cynic. In interview after interview the director has made it clear that his sympathy for dweebs and failures everywhere is rooted in personal experience. And in \u003cem>Wiener-Dog\u003c/em> he’s far more likely to make short work of the film-theory mumbo-jumbo of hipster cinema students than of their hidebound professor, still beavering away at the principles of three-act structure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What do we believe in?” a small boy asks his glibly atheist mother near the beginning of \u003cem>Wiener-Dog\u003c/em>. “Truth, compassion, love,” she answers tenderly, while doling out heedless cruelty to a putative pet. Solondz may be asking who’s rescuing whom here. Is that a ray of hope speeding by these walking wounded, so preoccupied with their own miseries they fail to see that caring for others, canine or human, may be the only redemption? Or is it just a sausage dog on a skateboard?\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11751052/a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos",
"authors": [
"byline_arts_11751052"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11751055",
"label": "arts_137"
},
"arts_11735764": {
"type": "posts",
"id": "arts_11735764",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11735764",
"score": null,
"sort": [
1466876473000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1466876473,
"format": "standard",
"title": "San Francisco Gay Men's Chorus Takes on Beatles and Boyz II Men",
"headTitle": "San Francisco Gay Men’s Chorus Takes on Beatles and Boyz II Men | KQED",
"content": "\u003cp>What is the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> if not just a really, REALLY big boy band?\u003c/p>\n\u003cp>The members of the roughly 230-member ensemble certainly have the voices, moves and hairdos to match. That much is clear as they work their way through a slew of hits by pop history’s most female-scream-inducing male groups, from The Beatles to Boyz II Men, in their latest concert program, \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11735767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11735767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg\" alt=\"The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those of us who can tear ourselves away from the big shindig going on at Civic Center this weekend, Heartthrobs is bound to be one of the highlights of \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">Pride 2016\u003c/a>.\u003c/p>\n\u003cp>The Boy band repertoire is a guilty pleasure for many, and this chorus truly knows how to milk a sappy lyric. The singers push One Direction’s “What Makes You Beautiful” beyond the manufactured, and into the realms of the sighing-sweet. They have more fun with Mark Ronson’s “Uptown Funk” than should be allowed, showing off not just their ability to convey the silly hedonism of the words (“I’m too hot (hot damn) / Called a police and a fireman”), but also some serious choreographic chops. You’re unlikely to see so many dudes move so well outside of a professional dance company.\u003c/p>\n\u003cp>Then there are some superb arrangements. In particular, Dave Caldwell’s gorgeous take on Mumford & Sons’ “I Will Wait,” with its mellifluous tinklings on the keys, plucks at more than piano strings. And in the second half of the program — which (sort of disappointingly) moves away from the boy band theme and into more standard Gay Chorus repertoire of musical theater numbers and other tunes that register high on the sentimentality scale — there’s Mitch Galli’s impressive, heavily a cappella version “It’s Raining Men.” Like some of the other numbers on the program, the song is performed by a smaller subset of the big choir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Nourse Theater isn’t a great place to hear vocal music. The proscenium, coupled with a poor sound system, muffles the power and clarity of the singing. This is the one thing that might stand in the way of a girl ripping off her panties and throwing them at the stage. Still, these heartthrobs certainly got me close.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Catch the San Francisco Gay Men’s Chorus in \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\" target=\"_blank\" rel=\"noopener\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a> at the Nourse Theater in San Francisco on Saturday, Jun 25 at 2.30pm and 8.00pm. \u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 464,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033802,
"excerpt": "The massive forces of one of the country's greatest community choruses have true boy band appeal",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The massive forces of one of the country's greatest community choruses have true boy band appeal",
"title": "San Francisco Gay Men's Chorus Takes on Beatles and Boyz II Men | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco Gay Men's Chorus Takes on Beatles and Boyz II Men",
"datePublished": "2016-06-25T10:41:13-07:00",
"dateModified": "2024-01-11T20:30:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "san-francisco-gay-mens-chorus-takes-on-beatles-and-boys-ii-men",
"status": "publish",
"sticky": false,
"path": "/arts/11735764/san-francisco-gay-mens-chorus-takes-on-beatles-and-boys-ii-men",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> if not just a really, REALLY big boy band?\u003c/p>\n\u003cp>The members of the roughly 230-member ensemble certainly have the voices, moves and hairdos to match. That much is clear as they work their way through a slew of hits by pop history’s most female-scream-inducing male groups, from The Beatles to Boyz II Men, in their latest concert program, \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11735767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11735767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg\" alt=\"The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those of us who can tear ourselves away from the big shindig going on at Civic Center this weekend, Heartthrobs is bound to be one of the highlights of \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">Pride 2016\u003c/a>.\u003c/p>\n\u003cp>The Boy band repertoire is a guilty pleasure for many, and this chorus truly knows how to milk a sappy lyric. The singers push One Direction’s “What Makes You Beautiful” beyond the manufactured, and into the realms of the sighing-sweet. They have more fun with Mark Ronson’s “Uptown Funk” than should be allowed, showing off not just their ability to convey the silly hedonism of the words (“I’m too hot (hot damn) / Called a police and a fireman”), but also some serious choreographic chops. You’re unlikely to see so many dudes move so well outside of a professional dance company.\u003c/p>\n\u003cp>Then there are some superb arrangements. In particular, Dave Caldwell’s gorgeous take on Mumford & Sons’ “I Will Wait,” with its mellifluous tinklings on the keys, plucks at more than piano strings. And in the second half of the program — which (sort of disappointingly) moves away from the boy band theme and into more standard Gay Chorus repertoire of musical theater numbers and other tunes that register high on the sentimentality scale — there’s Mitch Galli’s impressive, heavily a cappella version “It’s Raining Men.” Like some of the other numbers on the program, the song is performed by a smaller subset of the big choir.\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 Nourse Theater isn’t a great place to hear vocal music. The proscenium, coupled with a poor sound system, muffles the power and clarity of the singing. This is the one thing that might stand in the way of a girl ripping off her panties and throwing them at the stage. Still, these heartthrobs certainly got me close.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Catch the San Francisco Gay Men’s Chorus in \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\" target=\"_blank\" rel=\"noopener\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a> at the Nourse Theater in San Francisco on Saturday, Jun 25 at 2.30pm and 8.00pm. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11735764/san-francisco-gay-mens-chorus-takes-on-beatles-and-boys-ii-men",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11735766",
"label": "arts_140"
},
"arts_11722114": {
"type": "posts",
"id": "arts_11722114",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11722114",
"score": null,
"sort": [
1466632857000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1466632857,
"format": "standard",
"title": "A Comforting Cacophony at 'Garden of Memory' in Oakland",
"headTitle": "A Comforting Cacophony at ‘Garden of Memory’ in Oakland | KQED",
"content": "\u003cp>The conventions of live musical performance haven’t changed much over the last several centuries, what with an audience inevitably oriented toward a stage and a series of sets punctuated by applause. Despite a few rebellions, the very architecture of every new venue constructed continues to enforce a rigid code of conduct, one that emphasizes, above all else, patience.\u003c/p>\n\u003cp>Which helps explain the exceptional thrill of Garden of Memory, the carnival of sound and vision held annually in Oakland’s stately Chapel of the Chimes columbarium on the summer solstice, the longest day of the year. On Tuesday night, dozens of performances occur throughout the labyrinthine structure at once. No set demands any more investment than listeners wish to give. Attendees interested in experimental music but leery of the rigor it’s thought to require need not worry: Garden of Memory encourages patrons to wander, to welcome distraction, and ideally get lost.\u003c/p>\n\u003cp>At this year’s event, Rova Saxophone Quartet beckons with the brassy swagger of a jazz orchestra, but Entartete Ensemble’s gossamer understatement inspires a detour. Pamela Z, awash in natural light, seamlessly loops and stitches together a vibrant choral work. John Benson reprises the setup that’s haunted this writer since last year: an upturned bass drum lit from below and covered in a shallow pool of milk, which quivers and gushes to a deep drone. Hallways teem with chatter. Errant melodies escape their designated alcoves. Children sprint past elders who gingerly navigate the stone steps; the disparate generations appear to have struck a truce.\u003c/p>\n\u003cfigure id=\"attachment_11722123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg\" alt=\"Rova Saxophone Quartet at 'Garden of Memory' in Oakland, June 21, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rova Saxophone Quartet at ‘Garden of Memory’ in Oakland, June 21, 2016. \u003ccite>(Photo: Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At all times, Garden of Memory is comfortingly cacophonous, reminiscent of the inimitable polyphony that emerges on rare occasions in the hallway of a bustling rehearsal complex. The event concludes with a participatory bell-ringing ceremony that sounds so much like chimes and rain that it threatens, in fittingly pagan fashion, to invoke thunder. \u003c/p>\n\u003cp>To produce the first Garden of Memory in 1996, celebrated Berkeley pianist and composer Sarah Cahill partnered with the small non-profit New Music Bay Area, then known as 20th Century Forum. At first, it was free and familial, featuring Cahill and her peers. Though attendance has swelled to thousands in recent years, ticket prices remain humble and the organization, simple: expenses hover around $1,000, and proceeds are divided evenly among performers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like the San Francisco Electronic Music Festival, the programming at Garden of Memory reflects the porosity between academic and underground experimental music circles in the Bay Area, where scrappy tabletop noise artists and renowned performers intersect and commingle at museums and warehouses alike. This is largely on account of Mills College, which seems to cyclically inject life and restless energy into Oakland clubs and performing arts spaces.\u003c/p>\n\u003cfigure id=\"attachment_11722122\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg\" alt=\"At Garden of Memory in Oakland, June 21, 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11722122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_.jpg 733w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">At Garden of Memory in Oakland, June 21, 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To wit, Garden of Memory features co-director of Mills’ Center for Contemporary Music Maggi Payne, who presides over a sort of theremin workshop in one nook; and faculty member William Winant, the versatile and acclaimed percussionist, who both leads his own group and performs a piece by the maverick 20th century composer Lou Harrison with Cahill and violinist Kate Stenberg. Cahill then plays an early, little-known composition by Harrison, all smoky chord clusters set to a cool, stuttering groove. (The sheet music was recently discovered in Mills’ library.) \u003c/p>\n\u003cp>First-time performers include Mills alum Sharmi Basu, who makes seething, charred electronic music as Beast Nest. Here, however, her set is relatively restrained, composed of aqueous, gleaming textures with a nevertheless dark luster. And behind her is dancer Alexander Zander Brown, who strikes angular poses and undulates beneath a gold shawl. Programming is proposal-based, but many of the same performers participate every year; as Basu and Brown show, more inaugural appearances would be welcomed.\u003c/p>\n\u003cp>For many artists, the atmosphere seems to encourage whimsical ideas. In the best case, this looks something like Randy Porter’s corner: a thicket of plastic tubes, mounted horns, and a rickety organ that appears to fold up into a box and sounds great when he strikes it with a hammer.\u003c/p>\n\u003cp>It’s important not to overstate the evening’s levity. To be sure, were the programming to take direct inspiration from Chapel of the Chimes’ practical purposes — incinerating corpses, stowing remains — it would quickly devolve into parody. But it’s still a solemn, aching piece called “No Stolen Sisters” — written and performed by saxophonist Phillip Greenlief to honor and acknowledge the indigenous women “disappeared” at alarming rates in recent years — that proves particularly resonant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using circular breathing, Greenlief performs for four hours. This is at palpable physical expense; his face discolors and spittle settles around his mouthpiece. Over time, his exertion inflects and skews the instrument’s timbre, conjuring a sort of spectral lament. And in that moment, having idly strolled and passively listened all evening, suddenly patience is less of a chore and more of a pathway. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 860,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705033830,
"excerpt": "Overturning conventional performance, this year's Garden of Memory event in Oakland's Chapel of the Chimes columbarium encouraged wandering and rewarded curiosity.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Overturning conventional performance, this year's Garden of Memory event in Oakland's Chapel of the Chimes columbarium encouraged wandering and rewarded curiosity.",
"title": "A Comforting Cacophony at 'Garden of Memory' in Oakland | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Comforting Cacophony at 'Garden of Memory' in Oakland",
"datePublished": "2016-06-22T15:00:57-07:00",
"dateModified": "2024-01-11T20:30:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-comforting-cacophony-at-garden-of-memory-in-oakland",
"status": "publish",
"nprByline": "Sam Lefebvre",
"sticky": false,
"path": "/arts/11722114/a-comforting-cacophony-at-garden-of-memory-in-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The conventions of live musical performance haven’t changed much over the last several centuries, what with an audience inevitably oriented toward a stage and a series of sets punctuated by applause. Despite a few rebellions, the very architecture of every new venue constructed continues to enforce a rigid code of conduct, one that emphasizes, above all else, patience.\u003c/p>\n\u003cp>Which helps explain the exceptional thrill of Garden of Memory, the carnival of sound and vision held annually in Oakland’s stately Chapel of the Chimes columbarium on the summer solstice, the longest day of the year. On Tuesday night, dozens of performances occur throughout the labyrinthine structure at once. No set demands any more investment than listeners wish to give. Attendees interested in experimental music but leery of the rigor it’s thought to require need not worry: Garden of Memory encourages patrons to wander, to welcome distraction, and ideally get lost.\u003c/p>\n\u003cp>At this year’s event, Rova Saxophone Quartet beckons with the brassy swagger of a jazz orchestra, but Entartete Ensemble’s gossamer understatement inspires a detour. Pamela Z, awash in natural light, seamlessly loops and stitches together a vibrant choral work. John Benson reprises the setup that’s haunted this writer since last year: an upturned bass drum lit from below and covered in a shallow pool of milk, which quivers and gushes to a deep drone. Hallways teem with chatter. Errant melodies escape their designated alcoves. Children sprint past elders who gingerly navigate the stone steps; the disparate generations appear to have struck a truce.\u003c/p>\n\u003cfigure id=\"attachment_11722123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg\" alt=\"Rova Saxophone Quartet at 'Garden of Memory' in Oakland, June 21, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rova Saxophone Quartet at ‘Garden of Memory’ in Oakland, June 21, 2016. \u003ccite>(Photo: Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At all times, Garden of Memory is comfortingly cacophonous, reminiscent of the inimitable polyphony that emerges on rare occasions in the hallway of a bustling rehearsal complex. The event concludes with a participatory bell-ringing ceremony that sounds so much like chimes and rain that it threatens, in fittingly pagan fashion, to invoke thunder. \u003c/p>\n\u003cp>To produce the first Garden of Memory in 1996, celebrated Berkeley pianist and composer Sarah Cahill partnered with the small non-profit New Music Bay Area, then known as 20th Century Forum. At first, it was free and familial, featuring Cahill and her peers. Though attendance has swelled to thousands in recent years, ticket prices remain humble and the organization, simple: expenses hover around $1,000, and proceeds are divided evenly among performers. \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>Like the San Francisco Electronic Music Festival, the programming at Garden of Memory reflects the porosity between academic and underground experimental music circles in the Bay Area, where scrappy tabletop noise artists and renowned performers intersect and commingle at museums and warehouses alike. This is largely on account of Mills College, which seems to cyclically inject life and restless energy into Oakland clubs and performing arts spaces.\u003c/p>\n\u003cfigure id=\"attachment_11722122\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg\" alt=\"At Garden of Memory in Oakland, June 21, 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11722122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_.jpg 733w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">At Garden of Memory in Oakland, June 21, 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To wit, Garden of Memory features co-director of Mills’ Center for Contemporary Music Maggi Payne, who presides over a sort of theremin workshop in one nook; and faculty member William Winant, the versatile and acclaimed percussionist, who both leads his own group and performs a piece by the maverick 20th century composer Lou Harrison with Cahill and violinist Kate Stenberg. Cahill then plays an early, little-known composition by Harrison, all smoky chord clusters set to a cool, stuttering groove. (The sheet music was recently discovered in Mills’ library.) \u003c/p>\n\u003cp>First-time performers include Mills alum Sharmi Basu, who makes seething, charred electronic music as Beast Nest. Here, however, her set is relatively restrained, composed of aqueous, gleaming textures with a nevertheless dark luster. And behind her is dancer Alexander Zander Brown, who strikes angular poses and undulates beneath a gold shawl. Programming is proposal-based, but many of the same performers participate every year; as Basu and Brown show, more inaugural appearances would be welcomed.\u003c/p>\n\u003cp>For many artists, the atmosphere seems to encourage whimsical ideas. In the best case, this looks something like Randy Porter’s corner: a thicket of plastic tubes, mounted horns, and a rickety organ that appears to fold up into a box and sounds great when he strikes it with a hammer.\u003c/p>\n\u003cp>It’s important not to overstate the evening’s levity. To be sure, were the programming to take direct inspiration from Chapel of the Chimes’ practical purposes — incinerating corpses, stowing remains — it would quickly devolve into parody. But it’s still a solemn, aching piece called “No Stolen Sisters” — written and performed by saxophonist Phillip Greenlief to honor and acknowledge the indigenous women “disappeared” at alarming rates in recent years — that proves particularly resonant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using circular breathing, Greenlief performs for four hours. This is at palpable physical expense; his face discolors and spittle settles around his mouthpiece. Over time, his exertion inflects and skews the instrument’s timbre, conjuring a sort of spectral lament. And in that moment, having idly strolled and passively listened all evening, suddenly patience is less of a chore and more of a pathway. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11722114/a-comforting-cacophony-at-garden-of-memory-in-oakland",
"authors": [
"byline_arts_11722114"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11722121",
"label": "arts"
},
"arts_11714293": {
"type": "posts",
"id": "arts_11714293",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11714293",
"score": null,
"sort": [
1466472603000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1466472603,
"format": "image",
"title": "Live Review: John Carpenter, Godfather of Horror Music, at the Fox Theater",
"headTitle": "Live Review: John Carpenter, Godfather of Horror Music, at the Fox Theater | KQED",
"content": "\u003cp>As soon as John Carpenter strode onto the stage at the Fox Theater in Oakland on Friday night, before he played a single note, the famed cult director received a king’s welcome as someone shouted the \u003ca href=\"https://www.youtube.com/watch?v=75cS-RPl5kk\" target=\"_blank\" rel=\"noopener\">immortal line\u003c/a> from his 1978 classic \u003cem>Halloween\u003c/em>:\u003c/p>\n\u003cp>“YOU CAN’T KILL THE BOOGEYMAN!”\u003c/p>\n\u003cp>Nor can you kill horror movie buffs’ love for John Carpenter. During the next hour-and-a-half of the 68-year-old’s film music, Carpenter led his five-piece backing ensemble on synthesizer while montages from his filmography appeared projected behind the stage in a set that secured his status as the godfather of horror film music. \u003c/p>\n\u003cfigure id=\"attachment_11714761\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-796x600.jpg\" alt=\"John Carpenter performs themes from 'The Thing' at the Fox Theater in Oakland on June 17, 2016.\" width=\"796\" height=\"600\" class=\"size-medium wp-image-11714761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-796x600.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-960x723.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_.jpg 1100w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">John Carpenter performs themes from ‘The Thing’ at the Fox Theater in Oakland on June 17, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Horror movie soundtracks are having something of a moment. Go to Amoeba and check the soundtrack section; it’s full of classic and current-day horror scores elegantly repressed on limited-edition vinyl from boutique labels like \u003ca href=\"http://www.soundtracksonvinyl.com/tag/mondo/\" target=\"_blank\" rel=\"noopener\">Mondo\u003c/a> and \u003ca href=\"http://deathwaltzrecordingcompany.com/\" target=\"_blank\" rel=\"noopener\">Death Waltz\u003c/a>. While the surge is boosted by indie theaters like the Alamo Drafthouse, and podcasts galore (The Hysteria Continues; Killer POV; Forever Midnight), live performances of horror soundtracks — Goblin’s \u003ca href=\"http://www.goblinofficial.com/concerts.php\" target=\"_blank\" rel=\"noopener\">recent touring\u003c/a> notwithstanding — have been rare occurrences.\u003c/p>\n\u003cp>Which explains what makes Carpenter’s current tour so special. Here’s an artist who’s made a career of gut-churning imagery and horrific scenes, and yet the prevailing feeling at the Fox Theater was unabashed joy — from the opening strains of \u003cem>Escape From New York\u003c/em> to the finale of \u003cem>Christine\u003c/em>. For his fans, the chance to applaud the director-producer-screenwriter-actor-editor-composer was like, say, the rest of America having an opportunity to shake Tom Hanks’ hand and say, “I really loved \u003cem>Forrest Gump\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11714762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-800x450.jpg\" alt=\"John Carpenter performs themes from 'Halloween' at the Fox Theater in Oakland on June 17, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11714762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Carpenter performs themes from ‘Halloween’ at the Fox Theater in Oakland on June 17, 2016. \u003ccite>(Brian Henderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his own son on second keyboards, Carpenter’s band performed fluid medleys of each film’s music and sounded tonally dialed-in, a necessity for his scores. Carpenter came of age in the era of early rock ‘n’ roll, and that simplicity has always been a component of his music; four or five notes often form the melody, but what he does as far as backdrop and repetition can make those four or five notes creep up one’s spine. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nowhere was that more apparent than in his timeless theme to \u003cem>Halloween\u003c/em>, a blueprint for film scores ever since performed perfectly on Friday. Similarly, the pared-down score to \u003cem>The Thing\u003c/em> — written by Ennio Morricone, with a bit of editing by Carpenter — achieved maximum impact in the renovated theater. Locals also got \u003cem>The Fog\u003c/em>, filmed in and around Point Reyes, and \u003cem>Big Trouble in Little China\u003c/em>, filmed in San Francisco. A mix of songs from his two recent studio releases, \u003cem>Lost Themes I\u003c/em> and \u003cem>II\u003c/em>, peppered the set.\u003c/p>\n\u003cfigure id=\"attachment_11714760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-800x562.jpg\" alt=\"John Carpenter performs themes from 'Christine' at the Fox Theater in Oakland on June 17, 2016.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-11714760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Carpenter performs themes from ‘Christine’ at the Fox Theater in Oakland on June 17, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>But no one seemed to having as much fun as Carpenter himself. Swaying like a genie and pointing at fans, the composer seemed to be basking in the newfound attention directed his way in the current horror soundtrack zeitgeist. (In May, Guillermo del Toro happily added to the accolades in a \u003ca href=\"https://storify.com/tvaziri/guillermo-del-toro-s-tweetstorm-about-john-carpent\" target=\"_blank\" rel=\"noopener\">marvelously complimentary Tweetstorm\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was a jubilant way for John Carpenter, filmmaker, to finally be recognized as a groundbreaking composer live and in person. Here’s hoping he returns.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 609,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705033853,
"excerpt": "During an hour-and-a-half set, the 68-year-old filmmaker performed his original scores before projected montages from his filmography, securing his status as a groundbreaking film composer.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "During an hour-and-a-half set, the 68-year-old filmmaker performed his original scores before projected montages from his filmography, securing his status as a groundbreaking film composer.",
"title": "Live Review: John Carpenter, Godfather of Horror Music, at the Fox Theater | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live Review: John Carpenter, Godfather of Horror Music, at the Fox Theater",
"datePublished": "2016-06-20T18:30:03-07:00",
"dateModified": "2024-01-11T20:30:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "live-review-john-carpenter-godfather-of-horror-music-at-the-fox-theater",
"status": "publish",
"sticky": false,
"path": "/arts/11714293/live-review-john-carpenter-godfather-of-horror-music-at-the-fox-theater",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As soon as John Carpenter strode onto the stage at the Fox Theater in Oakland on Friday night, before he played a single note, the famed cult director received a king’s welcome as someone shouted the \u003ca href=\"https://www.youtube.com/watch?v=75cS-RPl5kk\" target=\"_blank\" rel=\"noopener\">immortal line\u003c/a> from his 1978 classic \u003cem>Halloween\u003c/em>:\u003c/p>\n\u003cp>“YOU CAN’T KILL THE BOOGEYMAN!”\u003c/p>\n\u003cp>Nor can you kill horror movie buffs’ love for John Carpenter. During the next hour-and-a-half of the 68-year-old’s film music, Carpenter led his five-piece backing ensemble on synthesizer while montages from his filmography appeared projected behind the stage in a set that secured his status as the godfather of horror film music. \u003c/p>\n\u003cfigure id=\"attachment_11714761\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-796x600.jpg\" alt=\"John Carpenter performs themes from 'The Thing' at the Fox Theater in Oakland on June 17, 2016.\" width=\"796\" height=\"600\" class=\"size-medium wp-image-11714761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-796x600.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_-960x723.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Thing_.jpg 1100w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">John Carpenter performs themes from ‘The Thing’ at the Fox Theater in Oakland on June 17, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Horror movie soundtracks are having something of a moment. Go to Amoeba and check the soundtrack section; it’s full of classic and current-day horror scores elegantly repressed on limited-edition vinyl from boutique labels like \u003ca href=\"http://www.soundtracksonvinyl.com/tag/mondo/\" target=\"_blank\" rel=\"noopener\">Mondo\u003c/a> and \u003ca href=\"http://deathwaltzrecordingcompany.com/\" target=\"_blank\" rel=\"noopener\">Death Waltz\u003c/a>. While the surge is boosted by indie theaters like the Alamo Drafthouse, and podcasts galore (The Hysteria Continues; Killer POV; Forever Midnight), live performances of horror soundtracks — Goblin’s \u003ca href=\"http://www.goblinofficial.com/concerts.php\" target=\"_blank\" rel=\"noopener\">recent touring\u003c/a> notwithstanding — have been rare occurrences.\u003c/p>\n\u003cp>Which explains what makes Carpenter’s current tour so special. Here’s an artist who’s made a career of gut-churning imagery and horrific scenes, and yet the prevailing feeling at the Fox Theater was unabashed joy — from the opening strains of \u003cem>Escape From New York\u003c/em> to the finale of \u003cem>Christine\u003c/em>. For his fans, the chance to applaud the director-producer-screenwriter-actor-editor-composer was like, say, the rest of America having an opportunity to shake Tom Hanks’ hand and say, “I really loved \u003cem>Forrest Gump\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11714762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-800x450.jpg\" alt=\"John Carpenter performs themes from 'Halloween' at the Fox Theater in Oakland on June 17, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11714762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Halloween.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Carpenter performs themes from ‘Halloween’ at the Fox Theater in Oakland on June 17, 2016. \u003ccite>(Brian Henderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his own son on second keyboards, Carpenter’s band performed fluid medleys of each film’s music and sounded tonally dialed-in, a necessity for his scores. Carpenter came of age in the era of early rock ‘n’ roll, and that simplicity has always been a component of his music; four or five notes often form the melody, but what he does as far as backdrop and repetition can make those four or five notes creep up one’s spine. \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>Nowhere was that more apparent than in his timeless theme to \u003cem>Halloween\u003c/em>, a blueprint for film scores ever since performed perfectly on Friday. Similarly, the pared-down score to \u003cem>The Thing\u003c/em> — written by Ennio Morricone, with a bit of editing by Carpenter — achieved maximum impact in the renovated theater. Locals also got \u003cem>The Fog\u003c/em>, filmed in and around Point Reyes, and \u003cem>Big Trouble in Little China\u003c/em>, filmed in San Francisco. A mix of songs from his two recent studio releases, \u003cem>Lost Themes I\u003c/em> and \u003cem>II\u003c/em>, peppered the set.\u003c/p>\n\u003cfigure id=\"attachment_11714760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-800x562.jpg\" alt=\"John Carpenter performs themes from 'Christine' at the Fox Theater in Oakland on June 17, 2016.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-11714760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Carpenter.Christine.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Carpenter performs themes from ‘Christine’ at the Fox Theater in Oakland on June 17, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>But no one seemed to having as much fun as Carpenter himself. Swaying like a genie and pointing at fans, the composer seemed to be basking in the newfound attention directed his way in the current horror soundtrack zeitgeist. (In May, Guillermo del Toro happily added to the accolades in a \u003ca href=\"https://storify.com/tvaziri/guillermo-del-toro-s-tweetstorm-about-john-carpent\" target=\"_blank\" rel=\"noopener\">marvelously complimentary Tweetstorm\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was a jubilant way for John Carpenter, filmmaker, to finally be recognized as a groundbreaking composer live and in person. Here’s hoping he returns.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11714293/live-review-john-carpenter-godfather-of-horror-music-at-the-fox-theater",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_11714759",
"label": "arts"
},
"arts_11713053": {
"type": "posts",
"id": "arts_11713053",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11713053",
"score": null,
"sort": [
1466460133000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1466460133,
"format": "standard",
"title": "‘Southwest of Salem’ Documents Four Women's Struggle for Exoneration",
"headTitle": "‘Southwest of Salem’ Documents Four Women’s Struggle for Exoneration | KQED",
"content": "\u003cp>When filmmaker Deborah Esquenazi watched home videos of Cassandra Rivera and Anna Vasquez taking trips to the beach, making dinner and playing video games, she felt compelled to tell their story. Along with Elizabeth Ramirez and Kristie Mayhugh, the women made up the so-called San Antonio Four, Latina lesbian women accused of gang raping two little girls — Ramirez’s nieces — in San Antonio, Texas in 1994. Esquenazi’s investigation into their story led to the documentary \u003cem>\u003ca href=\"https://ticketing.frameline.org/festival/film/detail.aspx?FID=53&id=3725\" target=\"_blank\" rel=\"noopener\">Southwest of Salem: The Story of the San Antonio Four\u003c/a>\u003c/em>, opening Monday as part of \u003ca href=\"https://ticketing.frameline.org/festival/index.aspx\" target=\"_blank\" rel=\"noopener\">Frameline40\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/157645152?byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“It illuminated something for me,” Esquenazi says of the VHS tapes. “Why was it omitted that they were a loving family raising two kids? It made me feel like people have to see this — not just that the case is so horrific, the way the women were railroaded by the state, but they’re so joyful on camera.”\u003c/p>\n\u003cp>Horrific understates it. The women were accused of pinning down and sexually assaulting Ramirez’s nieces in what one investigator speculated was “Satanic–related sexual abuse.” Ramirez, considered the ringleader, was sentenced to 37 years, 6 months in prison, while the other women each received 15 year sentences. Maintaining their innocence throughout, all the women refused plea bargains. \u003c/p>\n\u003cfigure id=\"attachment_11714070\" class=\"wp-caption aligncenter\" style=\"max-width: 1057px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MUG-SHOTS.jpg\" alt=\"Mug shots of the San Antonio Four.\" width=\"1057\" height=\"264\" class=\"size-full wp-image-11714070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS.jpg 1057w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-400x100.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-960x240.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003cfigcaption class=\"wp-caption-text\">Mug shots of the San Antonio Four. \u003ccite>(Courtesy: Bexar County, City of San Antonio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a decade later, the accusations — unlike anything he’d ever heard — caught the attention of Mike Ware, an attorney who works with the \u003ca href=\"http://www.ipoftexas.org/\" target=\"_blank\" rel=\"noopener\">Innocence Project of Texas\u003c/a>. Even though his office gets about 120 letters a week from people claiming to have been wrongfully convicted, he made time to visit each of the women in their different prisons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The accusations were so preposterous,” Ware says. “These women were lovely, intelligent, solid people who notwithstanding had already served 12 or 13 years for a crime that had never taken place.”\u003c/p>\n\u003cp>The women cooperated with the police from the start, believing they had nothing to fear. In Esquenazi’s film, Vazquez quietly says this may have been their biggest mistake. Because of the negative media attention they experienced during the trial, Vazquez didn’t trust Esquenazi when the filmmaker first showed up at the prison.\u003c/p>\n\u003cfigure id=\"attachment_11714072\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Anna_1200.jpg\" alt=\"Anna Vasquez in the Hobby Prison Unit.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11714072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Vasquez in the Hobby Prison Unit. \u003ccite>(Courtesy: Southwest of Salem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was part of the media, and when the charges first occurred in 1994, they were completely against us,” Vazquez says. “She made me comfortable though and got somewhat into her personal life, and when I realized she was a lesbian, it made me feel she was the right person to tell our story.”\u003c/p>\n\u003cp>In the process of making the documentary, Esquenazi caught one of Ramirez’s nieces recanting her childhood accusations on tape, a major break in the case. Allegedly, the girl’s father was obsessed with Ramirez and pressured his daughters into making the accusations.\u003c/p>\n\u003cp>Anna Vasquez was released from prison on parole in 2012. Cassandra Rivera, Elizabeth Ramirez and Kristie Mayhugh were released from prison in 2013 based on Ware’s work with the courts. \u003c/p>\n\u003cfigure id=\"attachment_11714073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Cassie_1200.jpg\" alt=\"Cassie Rivera in the Lane Murray Prison Unit.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11714073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassie Rivera in the Lane Murray Prison Unit. \u003ccite>(Courtesy: Southwest of Salem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s staggering, watching \u003cem>Southwest of Salem\u003c/em> today, to comprehend how the women were convicted at all; the evidence against them consisted of contradictory testimony from two young girls and medical evidence that was later determined to be inconclusive. One reason they ended up in prison is because of who they are, Ware says. \u003c/p>\n\u003cp>“The four women were openly gay,” he says. “That emboldened the prosecution into ridiculous charges they would not have dared attempt with a less marginalized group.” \u003c/p>\n\u003cfigure id=\"attachment_11714074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MikeWare_1200.jpg\" alt=\"Attorney Mike Ware announces that the San Antonio Four defendants will be released on bond to a stunned, packed crowd at San Antonio courthouse.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11714074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Attorney Mike Ware announces that the San Antonio Four defendants will be released on bond to a stunned, packed crowd at San Antonio courthouse.\u003cbr> \u003ccite>(Courtesy: Carrie Kenny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esquenazi says she usually tries to experiment stylistically in her filmmaking, but with \u003cem>Southwest of Salem\u003c/em> (a reference to the 17th-century colonial witch trials), she just wanted to make the complicated story as clear as possible. Her subjects love the movie, and that’s one of the things she’s proudest about. \u003c/p>\n\u003cp>“I try to ask the question of who gets to tell their own story in my work,” Esquenazi says. “This case was all tied up with mythology and misogyny and homophobia, and if I can just show the pattern of behavior, maybe we can ask ourselves what we’re so afraid of.”\u003c/p>\n\u003cfigure id=\"attachment_11714071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/AfterHearing_1200.jpg\" alt=\"Anna Vasquez (R) with mother Maria Vasquez at San Antonio Hearings when the three remaining defendants were released.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11714071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Vasquez (R) with mother Maria Vasquez at San Antonio Hearings when the three remaining defendants were released. \u003ccite>(Courtesy: Carrie Kenny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years after their release, the women now hope to have the Texas Court of Criminal Appeals declare them innocent as a matter of law. Vazquez chokes up talking about it. \u003c/p>\n\u003cp>“I never even had a chance to make a name for myself,” she says. “This is a chance to have this lifted off of me once and for all. We’re out of prison, but it’s like being in a prison without bars.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Southwest of Salem\u003c/b> screens Monday, June 20, 6:30pm at the Castro Theatre in San Francisco and Thursday, June 23, 7pm at Landmark Theatres Piedmont in Oakland. For tickets and more information, visit \u003ca href=\"https://ticketing.frameline.org/festival/film/detail.aspx?FID=53&id=3725\" target=\"_blank\" rel=\"noopener\">frameline.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 911,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705033858,
"excerpt": "The San Antonio Four, accused of sexual assault by two young girls in 1994 Texas, tell their story through filmmaker Deborah Esquenazi.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The San Antonio Four, accused of sexual assault by two young girls in 1994 Texas, tell their story through filmmaker Deborah Esquenazi.",
"title": "‘Southwest of Salem’ Documents Four Women's Struggle for Exoneration | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Southwest of Salem’ Documents Four Women's Struggle for Exoneration",
"datePublished": "2016-06-20T15:02:13-07:00",
"dateModified": "2024-01-11T20:30:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "south-of-salem-documents-four-womens-struggle-for-exoneration",
"status": "publish",
"nprByline": "Emily Wilson",
"sticky": false,
"path": "/arts/11713053/south-of-salem-documents-four-womens-struggle-for-exoneration",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When filmmaker Deborah Esquenazi watched home videos of Cassandra Rivera and Anna Vasquez taking trips to the beach, making dinner and playing video games, she felt compelled to tell their story. Along with Elizabeth Ramirez and Kristie Mayhugh, the women made up the so-called San Antonio Four, Latina lesbian women accused of gang raping two little girls — Ramirez’s nieces — in San Antonio, Texas in 1994. Esquenazi’s investigation into their story led to the documentary \u003cem>\u003ca href=\"https://ticketing.frameline.org/festival/film/detail.aspx?FID=53&id=3725\" target=\"_blank\" rel=\"noopener\">Southwest of Salem: The Story of the San Antonio Four\u003c/a>\u003c/em>, opening Monday as part of \u003ca href=\"https://ticketing.frameline.org/festival/index.aspx\" target=\"_blank\" rel=\"noopener\">Frameline40\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/157645152?byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“It illuminated something for me,” Esquenazi says of the VHS tapes. “Why was it omitted that they were a loving family raising two kids? It made me feel like people have to see this — not just that the case is so horrific, the way the women were railroaded by the state, but they’re so joyful on camera.”\u003c/p>\n\u003cp>Horrific understates it. The women were accused of pinning down and sexually assaulting Ramirez’s nieces in what one investigator speculated was “Satanic–related sexual abuse.” Ramirez, considered the ringleader, was sentenced to 37 years, 6 months in prison, while the other women each received 15 year sentences. Maintaining their innocence throughout, all the women refused plea bargains. \u003c/p>\n\u003cfigure id=\"attachment_11714070\" class=\"wp-caption aligncenter\" style=\"max-width: 1057px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MUG-SHOTS.jpg\" alt=\"Mug shots of the San Antonio Four.\" width=\"1057\" height=\"264\" class=\"size-full wp-image-11714070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS.jpg 1057w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-400x100.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MUG-SHOTS-960x240.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003cfigcaption class=\"wp-caption-text\">Mug shots of the San Antonio Four. \u003ccite>(Courtesy: Bexar County, City of San Antonio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a decade later, the accusations — unlike anything he’d ever heard — caught the attention of Mike Ware, an attorney who works with the \u003ca href=\"http://www.ipoftexas.org/\" target=\"_blank\" rel=\"noopener\">Innocence Project of Texas\u003c/a>. Even though his office gets about 120 letters a week from people claiming to have been wrongfully convicted, he made time to visit each of the women in their different prisons.\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 accusations were so preposterous,” Ware says. “These women were lovely, intelligent, solid people who notwithstanding had already served 12 or 13 years for a crime that had never taken place.”\u003c/p>\n\u003cp>The women cooperated with the police from the start, believing they had nothing to fear. In Esquenazi’s film, Vazquez quietly says this may have been their biggest mistake. Because of the negative media attention they experienced during the trial, Vazquez didn’t trust Esquenazi when the filmmaker first showed up at the prison.\u003c/p>\n\u003cfigure id=\"attachment_11714072\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Anna_1200.jpg\" alt=\"Anna Vasquez in the Hobby Prison Unit.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11714072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Anna_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Vasquez in the Hobby Prison Unit. \u003ccite>(Courtesy: Southwest of Salem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was part of the media, and when the charges first occurred in 1994, they were completely against us,” Vazquez says. “She made me comfortable though and got somewhat into her personal life, and when I realized she was a lesbian, it made me feel she was the right person to tell our story.”\u003c/p>\n\u003cp>In the process of making the documentary, Esquenazi caught one of Ramirez’s nieces recanting her childhood accusations on tape, a major break in the case. Allegedly, the girl’s father was obsessed with Ramirez and pressured his daughters into making the accusations.\u003c/p>\n\u003cp>Anna Vasquez was released from prison on parole in 2012. Cassandra Rivera, Elizabeth Ramirez and Kristie Mayhugh were released from prison in 2013 based on Ware’s work with the courts. \u003c/p>\n\u003cfigure id=\"attachment_11714073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Cassie_1200.jpg\" alt=\"Cassie Rivera in the Lane Murray Prison Unit.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11714073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Cassie_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassie Rivera in the Lane Murray Prison Unit. \u003ccite>(Courtesy: Southwest of Salem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s staggering, watching \u003cem>Southwest of Salem\u003c/em> today, to comprehend how the women were convicted at all; the evidence against them consisted of contradictory testimony from two young girls and medical evidence that was later determined to be inconclusive. One reason they ended up in prison is because of who they are, Ware says. \u003c/p>\n\u003cp>“The four women were openly gay,” he says. “That emboldened the prosecution into ridiculous charges they would not have dared attempt with a less marginalized group.” \u003c/p>\n\u003cfigure id=\"attachment_11714074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MikeWare_1200.jpg\" alt=\"Attorney Mike Ware announces that the San Antonio Four defendants will be released on bond to a stunned, packed crowd at San Antonio courthouse.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11714074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MikeWare_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Attorney Mike Ware announces that the San Antonio Four defendants will be released on bond to a stunned, packed crowd at San Antonio courthouse.\u003cbr> \u003ccite>(Courtesy: Carrie Kenny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esquenazi says she usually tries to experiment stylistically in her filmmaking, but with \u003cem>Southwest of Salem\u003c/em> (a reference to the 17th-century colonial witch trials), she just wanted to make the complicated story as clear as possible. Her subjects love the movie, and that’s one of the things she’s proudest about. \u003c/p>\n\u003cp>“I try to ask the question of who gets to tell their own story in my work,” Esquenazi says. “This case was all tied up with mythology and misogyny and homophobia, and if I can just show the pattern of behavior, maybe we can ask ourselves what we’re so afraid of.”\u003c/p>\n\u003cfigure id=\"attachment_11714071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/AfterHearing_1200.jpg\" alt=\"Anna Vasquez (R) with mother Maria Vasquez at San Antonio Hearings when the three remaining defendants were released.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11714071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/AfterHearing_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Vasquez (R) with mother Maria Vasquez at San Antonio Hearings when the three remaining defendants were released. \u003ccite>(Courtesy: Carrie Kenny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years after their release, the women now hope to have the Texas Court of Criminal Appeals declare them innocent as a matter of law. Vazquez chokes up talking about it. \u003c/p>\n\u003cp>“I never even had a chance to make a name for myself,” she says. “This is a chance to have this lifted off of me once and for all. We’re out of prison, but it’s like being in a prison without bars.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Southwest of Salem\u003c/b> screens Monday, June 20, 6:30pm at the Castro Theatre in San Francisco and Thursday, June 23, 7pm at Landmark Theatres Piedmont in Oakland. For tickets and more information, visit \u003ca href=\"https://ticketing.frameline.org/festival/film/detail.aspx?FID=53&id=3725\" target=\"_blank\" rel=\"noopener\">frameline.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11713053/south-of-salem-documents-four-womens-struggle-for-exoneration",
"authors": [
"byline_arts_11713053"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11714069",
"label": "arts"
},
"arts_11686611": {
"type": "posts",
"id": "arts_11686611",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11686611",
"score": null,
"sort": [
1466175608000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1466175608,
"format": "standard",
"title": "Rug Store Provides Unsettlingly Peaceful Setting for Violent 'Othello'",
"headTitle": "Rug Store Provides Unsettlingly Peaceful Setting for Violent ‘Othello’ | KQED",
"content": "\u003cp>The ever resourceful and itinerant Ubuntu Theater Project’s first move in staging \u003cem>Othello\u003c/em>, one of Shakespeare’s most horrific tragedies, is to encase it in beauty. At \u003ca href=\"http://www.emmetteilandorientalrugs.com/?gclid=Cj0KEQjw-YO7BRDwi6Stp7T296ABEiQAD6iWMaRUVCQl-uB5omnUAQuHMSd9-eBNYvP9_yM17GeItmcaAlUM8P8HAQ\" target=\"_blank\" rel=\"noopener\">Emmett Eiland’s Oriental Rug Company\u003c/a>, a Berkeley store selling Persian carpets and the like, the company has found not only a beautiful venue, but also one that possesses an epic sense of tranquility.\u003c/p>\n\u003cp>There are rugs everywhere, hanging from the walls like ancient tapestries, in huge piles behind the audience — as if the world we’ve entered were smothered in an abundance of treasure — and on the floor of the stage, where the actors glide over a complex mosaic of woven, abstract patterns.\u003c/p>\n\u003cp>The production is especially sharp in the first act, where Othello triumphs in spite of his race, navigating the complex political and social realities of a white, European Venice. Ronald Kirk’s Othello catches the swift intelligence and physical grace of a warrior who knows his way around power and how to bend it to his will.\u003c/p>\n\u003cp>The Duke of Venice summons Othello, his best general, for an important mission against the Turks and he’s ready. Immediately thereafter, surrounded by his father-in-law’s men and accused of defiling Desdemona — who he has secretly married — he commands the situation even in captivity. This Othello is like some cunning god descended from the heavens: every situation is a testament to his brilliance and excellence.\u003c/p>\n\u003cfigure id=\"attachment_11688353\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg\" alt=\"Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Socrates Moran’s direction is cinematic-fast. Soldiers slip along the periphery, Othello and Desdemona kiss in the background, Iago and Roderigo hide in the shadows and then erupt to the center of the stage. We’re in the street, now in the Senate, the piles of rugs behind the audience, a labyrinthine Venice of alleyways and canals. In the heady rush of Othello’s political and romantic victories, we almost forget how sickening this is all going to get.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then the tragedy begins. Kirk, in a truly complex performance, seems to age 10 years between the first and second acts. The outsider cool of the Venetian scenes gives way to a clumsy vanity, a buffoon’s attempt at a pretended gravitas. Watch how this Othello is always vainly rearranging his scarf.\u003c/p>\n\u003cp>Kirk’s Othello and Michael Navarra’s Iago are excellent together and catch what’s most essential about the play: that these men are contrary aspects of the same soul. In the last image before the intermission, they stare at each other and embrace in a strange caress. It’s unclear whether they’re ready to fight, kiss, or console one another.\u003c/p>\n\u003cfigure id=\"attachment_11688350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg\" alt=\"Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how successful, neither of them seems capable of resting in the world. They can navigate it as Othello does in the first act and manipulate it as Iago does in the rest of the play. But there is no calm, only a roiling absence where a person should be. Both of these characters operate best as outsiders. And so Othello’s triumph becomes Iago’s opportunity. The mantle of cool slips from good to evil and we’re caught admiring a devil.\u003c/p>\n\u003cp>It’s one of Shakespeare’s wiliest ethical traps and finds perfect expression in Ubuntu’s social and aesthetic concerns. One of the pleasures of this young company is how seriously its members take the importance of the ensemble. They always get fine lead performances, but they are of a piece with the whole cast. Even the walk-ons perform with a ferocity equal to the stars and that gives Ubuntu productions, this \u003cem>Othello\u003c/em> included, a sense of completeness.\u003c/p>\n\u003cp>So when Othello and Iago grasp each other in the middle of the stage, we feel the pressure of the entire cast weighing down on them and feel the complexities of the play all the more acutely. Shakespeare’s shifty moral calculus and Ubuntu’s commitment to the group demand clarity. Conflict is never random, but rather the result of entire worlds and cultures.\u003c/p>\n\u003cp>As with the company’s recent stage adaptation of John Steinbeck’s \u003cem>Grapes of Wrath\u003c/em>, Ubuntu’s theatrical invention flags at times. And the production is somewhat marred by a weak Desdemona. Emilie Whelan is capable, but seems to be acting an interpretation rather than a person. Where the other leads stay in the moment, the actress seems too aware of Desdemona’s fate. As early as the first act, Whelan behaves as if she’s caught in a nightmare rather than embarking on the adventure of her life. It’s Desdemona’s belief in Othello’s goodness, not her dread of him, that sustains the character for most of the play.\u003c/p>\n\u003cp>Yet the production is consistently forceful. When we reach Othello’s murder of Desdemona and the long, strange scene that follows it, Moran and company come close to pulling off one of theater’s most brutally difficult scenes. As Othello slinks towards Desdemona’s bed to kill her, you realize that for at least an hour the ensemble has been working on Desdemona’s handkerchief, the false evidence that convinces Othello to murder his beloved wife.\u003c/p>\n\u003cp>What was once a slight piece of cloth is now around 30 feet long. The cast stretches it across the stage — about six feet above the bed — reframing the cavernous space into a harsh and unforgiving rectangle. Even though there is a vast and enticing world around the massive piece of fabric — the beauty and tranquility of all those hanging rugs — you know there is no way out of that room.\u003c/p>\n\u003cfigure id=\"attachment_11691987\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg\" alt=\"Things get wild for Emilia (Sarita Ocon) and the rest the cast in The Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get wild for Emilia (Sarita Ocon) and the rest the cast in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This bit of theatrical magic allows Kirk’s Othello, Navarra’s Iago, and Sarita Ocon’s churning Emilia to take on the sharp shifts in focus that end this unnerving, ugly tragedy. As they snarl and lash out like wild animals in a cage, you think, yes, this is close to what must happen. I wouldn’t say that this \u003cem>Othello\u003c/em> is entirely successful, but it’s a thrilling, daring attempt nonetheless.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Othello\u003c/em> plays through Sunday, June 26 at Emmett Eiland’s Oriental Rug Company, Berkeley. For tickets and information please click \u003ca href=\"http://www.ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1170,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705033882,
"excerpt": "While not entirely successful, Ubuntu Theater Project's latest production is nevertheless thrilling and daring",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "While not entirely successful, Ubuntu Theater Project's latest production is nevertheless thrilling and daring",
"title": "Rug Store Provides Unsettlingly Peaceful Setting for Violent 'Othello' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Rug Store Provides Unsettlingly Peaceful Setting for Violent 'Othello'",
"datePublished": "2016-06-17T08:00:08-07:00",
"dateModified": "2024-01-11T20:31:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "rug-store-provides-unsettlingly-peaceful-setting-for-violent-othello",
"status": "publish",
"sticky": false,
"path": "/arts/11686611/rug-store-provides-unsettlingly-peaceful-setting-for-violent-othello",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ever resourceful and itinerant Ubuntu Theater Project’s first move in staging \u003cem>Othello\u003c/em>, one of Shakespeare’s most horrific tragedies, is to encase it in beauty. At \u003ca href=\"http://www.emmetteilandorientalrugs.com/?gclid=Cj0KEQjw-YO7BRDwi6Stp7T296ABEiQAD6iWMaRUVCQl-uB5omnUAQuHMSd9-eBNYvP9_yM17GeItmcaAlUM8P8HAQ\" target=\"_blank\" rel=\"noopener\">Emmett Eiland’s Oriental Rug Company\u003c/a>, a Berkeley store selling Persian carpets and the like, the company has found not only a beautiful venue, but also one that possesses an epic sense of tranquility.\u003c/p>\n\u003cp>There are rugs everywhere, hanging from the walls like ancient tapestries, in huge piles behind the audience — as if the world we’ve entered were smothered in an abundance of treasure — and on the floor of the stage, where the actors glide over a complex mosaic of woven, abstract patterns.\u003c/p>\n\u003cp>The production is especially sharp in the first act, where Othello triumphs in spite of his race, navigating the complex political and social realities of a white, European Venice. Ronald Kirk’s Othello catches the swift intelligence and physical grace of a warrior who knows his way around power and how to bend it to his will.\u003c/p>\n\u003cp>The Duke of Venice summons Othello, his best general, for an important mission against the Turks and he’s ready. Immediately thereafter, surrounded by his father-in-law’s men and accused of defiling Desdemona — who he has secretly married — he commands the situation even in captivity. This Othello is like some cunning god descended from the heavens: every situation is a testament to his brilliance and excellence.\u003c/p>\n\u003cfigure id=\"attachment_11688353\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg\" alt=\"Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Socrates Moran’s direction is cinematic-fast. Soldiers slip along the periphery, Othello and Desdemona kiss in the background, Iago and Roderigo hide in the shadows and then erupt to the center of the stage. We’re in the street, now in the Senate, the piles of rugs behind the audience, a labyrinthine Venice of alleyways and canals. In the heady rush of Othello’s political and romantic victories, we almost forget how sickening this is all going to get.\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>And then the tragedy begins. Kirk, in a truly complex performance, seems to age 10 years between the first and second acts. The outsider cool of the Venetian scenes gives way to a clumsy vanity, a buffoon’s attempt at a pretended gravitas. Watch how this Othello is always vainly rearranging his scarf.\u003c/p>\n\u003cp>Kirk’s Othello and Michael Navarra’s Iago are excellent together and catch what’s most essential about the play: that these men are contrary aspects of the same soul. In the last image before the intermission, they stare at each other and embrace in a strange caress. It’s unclear whether they’re ready to fight, kiss, or console one another.\u003c/p>\n\u003cfigure id=\"attachment_11688350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg\" alt=\"Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how successful, neither of them seems capable of resting in the world. They can navigate it as Othello does in the first act and manipulate it as Iago does in the rest of the play. But there is no calm, only a roiling absence where a person should be. Both of these characters operate best as outsiders. And so Othello’s triumph becomes Iago’s opportunity. The mantle of cool slips from good to evil and we’re caught admiring a devil.\u003c/p>\n\u003cp>It’s one of Shakespeare’s wiliest ethical traps and finds perfect expression in Ubuntu’s social and aesthetic concerns. One of the pleasures of this young company is how seriously its members take the importance of the ensemble. They always get fine lead performances, but they are of a piece with the whole cast. Even the walk-ons perform with a ferocity equal to the stars and that gives Ubuntu productions, this \u003cem>Othello\u003c/em> included, a sense of completeness.\u003c/p>\n\u003cp>So when Othello and Iago grasp each other in the middle of the stage, we feel the pressure of the entire cast weighing down on them and feel the complexities of the play all the more acutely. Shakespeare’s shifty moral calculus and Ubuntu’s commitment to the group demand clarity. Conflict is never random, but rather the result of entire worlds and cultures.\u003c/p>\n\u003cp>As with the company’s recent stage adaptation of John Steinbeck’s \u003cem>Grapes of Wrath\u003c/em>, Ubuntu’s theatrical invention flags at times. And the production is somewhat marred by a weak Desdemona. Emilie Whelan is capable, but seems to be acting an interpretation rather than a person. Where the other leads stay in the moment, the actress seems too aware of Desdemona’s fate. As early as the first act, Whelan behaves as if she’s caught in a nightmare rather than embarking on the adventure of her life. It’s Desdemona’s belief in Othello’s goodness, not her dread of him, that sustains the character for most of the play.\u003c/p>\n\u003cp>Yet the production is consistently forceful. When we reach Othello’s murder of Desdemona and the long, strange scene that follows it, Moran and company come close to pulling off one of theater’s most brutally difficult scenes. As Othello slinks towards Desdemona’s bed to kill her, you realize that for at least an hour the ensemble has been working on Desdemona’s handkerchief, the false evidence that convinces Othello to murder his beloved wife.\u003c/p>\n\u003cp>What was once a slight piece of cloth is now around 30 feet long. The cast stretches it across the stage — about six feet above the bed — reframing the cavernous space into a harsh and unforgiving rectangle. Even though there is a vast and enticing world around the massive piece of fabric — the beauty and tranquility of all those hanging rugs — you know there is no way out of that room.\u003c/p>\n\u003cfigure id=\"attachment_11691987\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg\" alt=\"Things get wild for Emilia (Sarita Ocon) and the rest the cast in The Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get wild for Emilia (Sarita Ocon) and the rest the cast in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This bit of theatrical magic allows Kirk’s Othello, Navarra’s Iago, and Sarita Ocon’s churning Emilia to take on the sharp shifts in focus that end this unnerving, ugly tragedy. As they snarl and lash out like wild animals in a cage, you think, yes, this is close to what must happen. I wouldn’t say that this \u003cem>Othello\u003c/em> is entirely successful, but it’s a thrilling, daring attempt nonetheless.\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>\u003cstrong>\u003cem>Othello\u003c/em> plays through Sunday, June 26 at Emmett Eiland’s Oriental Rug Company, Berkeley. For tickets and information please click \u003ca href=\"http://www.ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11686611/rug-store-provides-unsettlingly-peaceful-setting-for-violent-othello",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11688059",
"label": "arts_140"
},
"arts_11696268": {
"type": "posts",
"id": "arts_11696268",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11696268",
"score": null,
"sort": [
1466172032000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1466172032,
"format": "standard",
"title": "Boxing, Dancing And Growing Up In 'The Fits'",
"headTitle": "Boxing, Dancing And Growing Up In ‘The Fits’ | KQED",
"content": "\u003cp>\u003cem>The Fits\u003c/em> is a movie that, if examined scene by scene and frame by frame, confirms its own uniqueness the way a conservationist might identify a member of an endangered species. The narrative directing debut of Anna Rose Holmer, the film mixes an all-amateur cast; a largely dialogue-free script; a whole lot of gliding and stationary long takes by cinematographer Paul Yee; and a scant 72-minute runtime to create the sort of mature and precise cinematic vision that is swiftly disappearing from the American landscape.\u003c/p>\n\u003cp>Set in and around a community center in Cincinnati’s majority-black West End, the film swiftly introduces us to Toni (Royalty Hightower), a shy, tightly braided preteen tomboy whose steely gaze tells us far more than the few words she utters. Toni walks to the rec center every day with her older brother Jermaine (Da’Sean Minor) to box with the boys, and, presumably, so the siblings can stay out of trouble after school with no parents around.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/134321235?title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But Toni shoots longing glances across the building to where the dance team (all older girls, all brimming with confidence and sexuality) practices their step routines. The team is played by the Q-Kidz, a real Cincinnati step team that also choreographed their own movements for the film — their founder, Marquicia Jones-Woods, is an Associate Producer. In a long tracking shot, the first of many instances where filmmaking technique doubles as character development, Toni lugs her heavy boxing equipment through a hallway while the dancers joyously sprint around her, hoisting their latest state championship trophy.\u003c/p>\n\u003cp>Soon there is a journey across the gym, as Toni ditches the boxing gloves for stretch pants and joins the new class of rookie dancers called “crabs.” (The film embraces rhythm and body movement, and mines humor from the ways the crabs are frequently out-of-sync with routine, each recruit performing her own idea of what dancing looks like.) Not long after, dread sets in: One by one, each of the older girls experiences seizure-like twitching spells, where their eyes fixate on some far-away place while their bodies writhe with violence. Later, when she emerges from her stupor, one girl says the trip “was like I was watching it from above.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s easy to guess what “the fits” are, or at least what they’re meant to symbolize when they’re only happening to teenage girls. But the film’s tone is careful enough that it never feels like a one-trick pony. “Unsafe water” is suspected at one point, a prescient analogy for Flint (the bits of the outside we see, with weeds poking through the concrete, share the same imagery). And Hightower’s silent-film expressiveness makes us feel the fear Toni has for the unknown. Her encroaching maturity is the crux the film hangs on, so small moments become prized gems, like a sequence where she and a crab friend (Alexis Neblett, very funny) sneak into storage to try on the new uniforms, blue-gold and sequined, and pretend they’re older until something childlike happens.\u003c/p>\n\u003cp>\u003cem>The Fits\u003c/em> is the latest in the recent independent film trend of a young, relatively untested white director crafting a narrative around a much younger, completely untested black lead. The club includes two other excellent features: fellow Sundance alum \u003cem>Morris From America \u003c/em>(coming in August) and the Oscar-nominated fantasy opus \u003ca href=\"http://www.npr.org/2012/06/26/155704471/post-storm-a-fairy-tale-and-reality-check-in-one\" target=\"_blank\" rel=\"noopener\">\u003cem>Beasts of the Southern Wild\u003c/em>\u003c/a>. On the one hand, it’s a sign that today’s filmmakers are taking greater risks to tell stories across race and class boundaries; on the other, it carries a whiff of what could be called cinema gentrification, where the film itself exists outside the community in which it’s set. It’s fraught territory, and opinions run high: \u003cem>Slate\u003c/em>‘s “\u003ca href=\"http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html\" target=\"_blank\" rel=\"noopener\">black film canon\u003c/a>,” published this week, doesn’t include movies, no matter their subjects, made by white directors. The website’s Aisha Harris and Dan Kois wrote that they wanted to emphasize “the power of black people telling their stories.”\u003c/p>\n\u003cp>So Holmer’s movie, the most exciting American indie in years, won’t be in this canon. But part of what makes \u003cem>The Fits\u003c/em> so exciting is how it defies the very idea of a canon: it’s made by women, it’s telling a new kind of story about teenage girls, it’s set below the poverty line but is not about poverty, and its genre is somewhere between social realism and comic-drama-horror. Like Toni, who floats on some unseen threshold between assumptions about ages and genders, \u003cem>The Fits \u003c/em>invents its own kind of belonging.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Fits\u003c/strong> opens at \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema/film-info/the-fits\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> in San Francisco and \u003ca href=\"http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-43-10-6-3-2016-9291\" target=\"_blank\" rel=\"noopener\">Camera 3\u003c/a> in San Jose beginning Friday, June 17.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 829,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705033883,
"excerpt": "Anna Rose Holmer's story of girls seized by seemingly unknown forces, and a new member of their group who must find her place among them.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Anna Rose Holmer's story of girls seized by seemingly unknown forces, and a new member of their group who must find her place among them.",
"title": "Boxing, Dancing And Growing Up In 'The Fits' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Boxing, Dancing And Growing Up In 'The Fits'",
"datePublished": "2016-06-17T07:00:32-07:00",
"dateModified": "2024-01-11T20:31:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "boxing-dancing-and-growing-up-in-the-fits",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=480448270&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 02 Jun 2016 17:00:00 -0400",
"nprLastModifiedDate": "Thu, 02 Jun 2016 18:39:08 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/02/480448270/boxing-dancing-and-growing-up-in-the-fits?ft=nprml&f=480448270",
"nprImageAgency": "Oscilloscope Laboratories",
"nprStoryId": "480448270",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Jun 2016 18:39:00 -0400",
"path": "/arts/11696268/boxing-dancing-and-growing-up-in-the-fits",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Fits\u003c/em> is a movie that, if examined scene by scene and frame by frame, confirms its own uniqueness the way a conservationist might identify a member of an endangered species. The narrative directing debut of Anna Rose Holmer, the film mixes an all-amateur cast; a largely dialogue-free script; a whole lot of gliding and stationary long takes by cinematographer Paul Yee; and a scant 72-minute runtime to create the sort of mature and precise cinematic vision that is swiftly disappearing from the American landscape.\u003c/p>\n\u003cp>Set in and around a community center in Cincinnati’s majority-black West End, the film swiftly introduces us to Toni (Royalty Hightower), a shy, tightly braided preteen tomboy whose steely gaze tells us far more than the few words she utters. Toni walks to the rec center every day with her older brother Jermaine (Da’Sean Minor) to box with the boys, and, presumably, so the siblings can stay out of trouble after school with no parents around.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/134321235?title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But Toni shoots longing glances across the building to where the dance team (all older girls, all brimming with confidence and sexuality) practices their step routines. The team is played by the Q-Kidz, a real Cincinnati step team that also choreographed their own movements for the film — their founder, Marquicia Jones-Woods, is an Associate Producer. In a long tracking shot, the first of many instances where filmmaking technique doubles as character development, Toni lugs her heavy boxing equipment through a hallway while the dancers joyously sprint around her, hoisting their latest state championship trophy.\u003c/p>\n\u003cp>Soon there is a journey across the gym, as Toni ditches the boxing gloves for stretch pants and joins the new class of rookie dancers called “crabs.” (The film embraces rhythm and body movement, and mines humor from the ways the crabs are frequently out-of-sync with routine, each recruit performing her own idea of what dancing looks like.) Not long after, dread sets in: One by one, each of the older girls experiences seizure-like twitching spells, where their eyes fixate on some far-away place while their bodies writhe with violence. Later, when she emerges from her stupor, one girl says the trip “was like I was watching it from above.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s easy to guess what “the fits” are, or at least what they’re meant to symbolize when they’re only happening to teenage girls. But the film’s tone is careful enough that it never feels like a one-trick pony. “Unsafe water” is suspected at one point, a prescient analogy for Flint (the bits of the outside we see, with weeds poking through the concrete, share the same imagery). And Hightower’s silent-film expressiveness makes us feel the fear Toni has for the unknown. Her encroaching maturity is the crux the film hangs on, so small moments become prized gems, like a sequence where she and a crab friend (Alexis Neblett, very funny) sneak into storage to try on the new uniforms, blue-gold and sequined, and pretend they’re older until something childlike happens.\u003c/p>\n\u003cp>\u003cem>The Fits\u003c/em> is the latest in the recent independent film trend of a young, relatively untested white director crafting a narrative around a much younger, completely untested black lead. The club includes two other excellent features: fellow Sundance alum \u003cem>Morris From America \u003c/em>(coming in August) and the Oscar-nominated fantasy opus \u003ca href=\"http://www.npr.org/2012/06/26/155704471/post-storm-a-fairy-tale-and-reality-check-in-one\" target=\"_blank\" rel=\"noopener\">\u003cem>Beasts of the Southern Wild\u003c/em>\u003c/a>. On the one hand, it’s a sign that today’s filmmakers are taking greater risks to tell stories across race and class boundaries; on the other, it carries a whiff of what could be called cinema gentrification, where the film itself exists outside the community in which it’s set. It’s fraught territory, and opinions run high: \u003cem>Slate\u003c/em>‘s “\u003ca href=\"http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html\" target=\"_blank\" rel=\"noopener\">black film canon\u003c/a>,” published this week, doesn’t include movies, no matter their subjects, made by white directors. The website’s Aisha Harris and Dan Kois wrote that they wanted to emphasize “the power of black people telling their stories.”\u003c/p>\n\u003cp>So Holmer’s movie, the most exciting American indie in years, won’t be in this canon. But part of what makes \u003cem>The Fits\u003c/em> so exciting is how it defies the very idea of a canon: it’s made by women, it’s telling a new kind of story about teenage girls, it’s set below the poverty line but is not about poverty, and its genre is somewhere between social realism and comic-drama-horror. Like Toni, who floats on some unseen threshold between assumptions about ages and genders, \u003cem>The Fits \u003c/em>invents its own kind of belonging.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Fits\u003c/strong> opens at \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema/film-info/the-fits\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> in San Francisco and \u003ca href=\"http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-43-10-6-3-2016-9291\" target=\"_blank\" rel=\"noopener\">Camera 3\u003c/a> in San Jose beginning Friday, June 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11696268/boxing-dancing-and-growing-up-in-the-fits",
"authors": [
"byline_arts_11696268"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1119",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11696573",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=review": {
"isFetching": false,
"latestQuery": {
"from": 1212,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_11811594",
"arts_11794501",
"arts_11788380",
"arts_11783485",
"arts_11757858",
"arts_11751052",
"arts_11735764",
"arts_11722114",
"arts_11714293",
"arts_11713053",
"arts_11686611",
"arts_11696268"
],
"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_review": {
"isLoading": true
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_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_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_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_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_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_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_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_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_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_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
}
},
"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": {}
}
}
}