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_13809400": {
"type": "attachments",
"id": "arts_13809400",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13809400",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-520x309.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 309
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-160x95.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 95
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-960x570.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 570
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-375x223.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 223
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract.jpg",
"width": 1920,
"height": 1140
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-1020x606.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 606
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-1180x701.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 701
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-800x475.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 475
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-1920x1140.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1140
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-1180x701.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 701
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-1920x1140.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-768x456.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 456
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Brockhampton.KevinAbstract-240x143.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 143
}
},
"publishDate": 1506328618,
"modified": 1506328924,
"caption": "Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.",
"description": "Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.",
"title": "Brockhampton.KevinAbstract",
"credit": "Gabe Meline",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13809271": {
"type": "attachments",
"id": "arts_13809271",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13809271",
"found": true
},
"parent": 13809270,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b.jpg",
"width": 1442,
"height": 811
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/brads-status-epk-bs_02044_r_crop_rgb_wide-3e8c5e44c5c89f6ba71078461615b808dfa1ed1b-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1506061210,
"modified": 1506061340,
"caption": "Please Clap: Troy (Austin Abrams) and father Brad (Ben Stiller) in 'Brad's Status.'",
"description": "Please Clap: Troy (Austin Abrams) and father Brad (Ben Stiller) in 'Brad's Status.'",
"title": "Please Clap: Troy (Austin Abrams) and father Brad (Ben Stiller) in Brad's Status.",
"credit": "Jonathan Wenk/Annapurna",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13809193": {
"type": "attachments",
"id": "arts_13809193",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13809193",
"found": true
},
"parent": 13809040,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/L.23.115.2017_Under_Pressure_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1506011266,
"modified": 1506011938,
"caption": "Nina Katchadourian, 'Under Pressure,' 2014. From 'Seat Assignment,' 2010- ongoing.",
"description": "Nina Katchadourian, 'Under Pressure,' 2014. From 'Seat Assignment,' 2010- ongoing.",
"title": "L.23.115.2017_Under_Pressure_COVER",
"credit": "Courtesy of the artist and Catharine Clark Gallery",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13809029": {
"type": "attachments",
"id": "arts_13809029",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13809029",
"found": true
},
"parent": 13808739,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1505887905,
"modified": 1506013013,
"caption": "Installation view of Sofía Córdova's 'The Gentle Voice That Talks To You Won't Talk Forever.'",
"description": "Installation view of Sofía Córdova's 'The Gentle Voice That Talks To You Won't Talk Forever.'",
"title": "City_Limits_Sofia_Cordova_COVER",
"credit": "Courtesy the artist and City Limits Gallery; Photo by Graham Holoch",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13808892": {
"type": "attachments",
"id": "arts_13808892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13808892",
"found": true
},
"parent": 13808888,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273.jpg",
"width": 3030,
"height": 1704
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1505763520,
"modified": 1505763822,
"caption": "Jerry Mulligan (McGee Maddox) gives a final salute to his old life as a soldier to become an artist in Paris.",
"description": "Jerry Mulligan (McGee Maddox) gives a final salute to his old life as a soldier to become an artist in Paris.",
"title": "AAIP_TOUR_0573",
"credit": "Photo: Courtesy of the Company",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13808564": {
"type": "attachments",
"id": "arts_13808564",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13808564",
"found": true
},
"parent": 13808519,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA.jpg",
"width": 1200,
"height": 676
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/mother-FF-114L-2RA-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1505420842,
"modified": 1505420913,
"caption": "Javier Bardem and Jennifer Lawrence in 'mother!'",
"description": "Javier Bardem and Jennifer Lawrence in 'mother!'",
"title": "mother!",
"credit": "Paramount Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13808183": {
"type": "attachments",
"id": "arts_13808183",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13808183",
"found": true
},
"parent": 13808178,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-520x294.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 294
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-960x543.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 543
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-375x212.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 212
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224.jpg",
"width": 3995,
"height": 2259
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-1020x577.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 577
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-1180x667.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 667
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-800x452.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 452
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-1920x1086.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1086
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-1180x667.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 667
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-1920x1086.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1086
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-768x434.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 434
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/kinetech1-e1505198257224-240x136.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 136
}
},
"publishDate": 1505197238,
"modified": 1505198340,
"caption": "Juliet Paramor confronts the abstraction of her self in 'Mesh' by Kinetech Arts.",
"description": "Juliet Paramor confronts the abstraction of her self in 'Mesh' by Kinetech Arts.",
"title": "kinetech1",
"credit": "Photo: Robbie Sweeney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13808174": {
"type": "attachments",
"id": "arts_13808174",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13808174",
"found": true
},
"parent": 13808173,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772.jpg",
"width": 3000,
"height": 1998
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/agrunwald_hrc_09_custom-4718ec1c89f4d70ce7fbb20784711be64f1e6772-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1505194743,
"modified": 1505195112,
"caption": "Hillary Clinton at the Glazier Arboretum Park, where she often likes to hike, in Chappaqua, N.Y.",
"description": "Hillary Clinton at the Glazier Arboretum Park, where she often likes to hike, in Chappaqua, N.Y.",
"title": "Hillary Clinton at the Glazier Arboretum Park, where she often likes to hike, in Chappaqua, N.Y.",
"credit": "Adrienne Grunwald for NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13807990": {
"type": "attachments",
"id": "arts_13807990",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13807990",
"found": true
},
"parent": 13807989,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487.jpg",
"width": 1332,
"height": 749
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/f1d1518d466f7a6165c2794b8473a02c664ebc18addec1f09cfdacca1eef7670_wide-5e67bdb512b97c20a8494f36222c8ceb68d09487-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1504915760,
"modified": 1504916170,
"caption": "Maggie Gyllenhaal plays Candy, a prostitute who begins to see a way off the street, in HBO's 'The Deuce.'",
"description": "Maggie Gyllenhaal plays Candy, a prostitute who begins to see a way off the street, in HBO's \u003cem>The Deuce\u003c/em>.",
"title": "Maggie Gyllenhaal plays Candy, a prostitute who begins to see a way off the street, in HBO's The Deuce.",
"credit": "Paul Schiraldi/HBO",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13807637": {
"type": "attachments",
"id": "arts_13807637",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13807637",
"found": true
},
"parent": 13807547,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Dolores_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1504734518,
"modified": 1504734857,
"caption": "Dolores Huerta at a press conference in 1975.",
"description": "Dolores Huerta at a press conference in 1975.",
"title": "Dolores_COVER",
"credit": "Courtesy of Walter P. Reuther Library Archives of Labor and Urban Affairs Wayne State University",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13806770": {
"type": "attachments",
"id": "arts_13806770",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13806770",
"found": true
},
"parent": 13806766,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-520x287.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 287
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-960x530.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 530
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-375x207.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 207
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526.jpg",
"width": 1500,
"height": 828
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-1020x563.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 563
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-1180x651.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 651
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-800x442.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 442
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-1180x651.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 651
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-768x424.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 424
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/08/Zenith1-e1503995155526-240x132.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 132
}
},
"publishDate": 1503994846,
"modified": 1503995196,
"caption": "Angela (Atim Udoffia) and Hazel (Nia Fairweather) in a tense stand off over fun.",
"description": "Angela (Atim Udoffia) and Hazel (Nia Fairweather) in a tense stand off over fun.",
"title": "Zenith1",
"credit": "Photo: Ken Levin",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13807500": {
"type": "attachments",
"id": "arts_13807500",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13807500",
"found": true
},
"parent": 13807461,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Saba.HieroDay.MAIN_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1504641594,
"modified": 1504641646,
"caption": "Saba, the Chance the Rapper affiliate from Chicago, performs at Hiero Day 2017 in West Oakland.",
"description": "Saba, the Chance the Rapper affiliate from Chicago, performs at Hiero Day 2017 in West Oakland.",
"title": "Saba.HieroDay.MAIN",
"credit": "Gabe Meline/KQED",
"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_13809270": {
"type": "authors",
"id": "byline_arts_13809270",
"meta": {
"override": true
},
"slug": "byline_arts_13809270",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_13808173": {
"type": "authors",
"id": "byline_arts_13808173",
"meta": {
"override": true
},
"slug": "byline_arts_13808173",
"name": "Tamara Keith",
"isLoading": false
},
"byline_arts_13807989": {
"type": "authors",
"id": "byline_arts_13807989",
"meta": {
"override": true
},
"slug": "byline_arts_13807989",
"name": "Eric Deggans",
"isLoading": false
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"rseikaly": {
"type": "authors",
"id": "77",
"meta": {
"index": "authors_1716337520",
"id": "77",
"found": true
},
"name": "Roula Seikaly",
"firstName": "Roula",
"lastName": "Seikaly",
"slug": "rseikaly",
"email": "roula@roulaseikaly.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Roula Seikaly in an independent writer and curator based in Berkeley, California, and Senior Editor at \u003ca href=\"http://hafny.org/\">Humble Arts Foundation\u003c/a>. She has curated exhibitions at Colorado Photographic Arts Center, Filter Photo Festival, Blue Sky Gallery, SF Camerawork, SOMArts, and the Utah Museum of Arts. She is a regular contributor to Photograph, Hyerallergic, BOMB Magazine, and KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Roula Seikaly | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rseikaly"
},
"mtedford": {
"type": "authors",
"id": "187",
"meta": {
"index": "authors_1716337520",
"id": "187",
"found": true
},
"name": "Matthew Harrison Tedford",
"firstName": "Matthew Harrison",
"lastName": "Tedford",
"slug": "mtedford",
"email": "mhtedford@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003ca href=\"http://www.mhtedford.com\">Matthew Harrison Tedford\u003c/a> is a writer whose work focuses on contemporary art, film, and California history. His writing has appeared in \u003cem id=\"yui_3_17_2_1_1403197832753_7692\">Art Practical\u003c/em>, \u003cem>Daily Serving\u003c/em>, \u003cem>Glance\u003c/em> (California College of the Arts), the \u003cem>Huffington Post\u003c/em>, \u003cem>Oakland Standard\u003c/em> (Oakland Museum of California), \u003cem>Open Space\u003c/em> (SFMOMA), \u003cem>Poor Taste Magazine\u003c/em>, \u003cem>SF Weekly\u003c/em>, and \u003cem>Wilder Quarterly\u003c/em>.",
"avatar": "https://secure.gravatar.com/avatar/f6ae15e4c10b73a2ee9215e669ca0328?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Matthew Harrison Tedford | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f6ae15e4c10b73a2ee9215e669ca0328?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f6ae15e4c10b73a2ee9215e669ca0328?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mtedford"
},
"lclark": {
"type": "authors",
"id": "3224",
"meta": {
"index": "authors_1716337520",
"id": "3224",
"found": true
},
"name": "Leilani Clark",
"firstName": "Leilani",
"lastName": "Clark",
"slug": "lclark",
"email": "clark.leil@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Leilani Clark writes about books for KQED Arts. Her writing has been published at Mother Jones, The Guardian, Civil Eats, Time Magazine, Food & Wine, Edible Marin & Wine Country, and The Rumpus. She is the editor of Made Local magazine in Sonoma County. Find her on Twitter \u003ca href=\"https://twitter.com/leilclark\">@leilclark\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Leilani Clark | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/lclark"
},
"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"
},
"jbote": {
"type": "authors",
"id": "11371",
"meta": {
"index": "authors_1716337520",
"id": "11371",
"found": true
},
"name": "Joshua Bote",
"firstName": "Joshua",
"lastName": "Bote",
"slug": "jbote",
"email": "jbote@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003cp class=\"p1\">Joshua Bote is an intern for KQED Arts. A senior at UC Berkeley, Joshua previously served as the Arts & Entertainment Editor at \u003ci>The Daily Californian\u003c/i>, UC Berkeley’s independently-run student newspaper. His work has been published in the \u003cem>East Bay Express.\u003c/em>\u003c/p>\r\n\u003cp class=\"p1\">He’s deeply enamored with Twitter culture, Carly Rae Jepsen, and love-oriented podcasts. He's also slowly learning to appreciate bad award shows. Follow him on Twitter \u003ca href=\"http://twitter.com/joshuaboat\">@joshuaboat\u003c/a>.\u003c/p>",
"avatar": "https://secure.gravatar.com/avatar/f060759cb27bc8b191022334ab99fc5a?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Joshua Bote | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f060759cb27bc8b191022334ab99fc5a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f060759cb27bc8b191022334ab99fc5a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jbote"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307959
},
"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": 81
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 81
}
},
{
"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_13809454": {
"type": "posts",
"id": "arts_13809454",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13809454",
"score": null,
"sort": [
1506363998000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1506363998,
"format": "image",
"title": "Live Review: BROCKHAMPTON's Anarchic Hip-Hop at Social Hall",
"headTitle": "Live Review: BROCKHAMPTON’s Anarchic Hip-Hop at Social Hall | KQED",
"content": "\u003cp>The boys of BROCKHAMPTON would like you to refer to them as, per the group’s founder Kevin Abstract’s words, “the best boy band in the motherf-ckin’ world.” After just three songs into their set on Sunday night — with the entire crowd chanting along at ear-piercing volume, with girls, boys and non-binary folks alike in the front row hoisting signs of adoration, with security rescuing exhausted fans from the front row and handing out bottles of water to others — the description certainly fit.\u003c/p>\n\u003cp>For the uninitiated, BROCKHAMPTON is a \u003ca href=\"http://www.thefader.com/2017/07/13/brockhampton-members-kevin-abstract-interview-saturation\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles-via-Texas 17-member collective\u003c/a> made up of rappers, singers, videographers, producers and designers who have amassed a young, adoring fanbase from their self-released, self-produced mixtapes and music videos. Their oldest member is 24, they are multiracial, queer and straight, and wildly prolific. Up to nine of them, at any given moment, were on stage last night, Sep. 24, at the Social Hall in San Francisco — their first show ever in the city.\u003c/p>\n\u003cfigure id=\"attachment_13809396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it would be fitting to pinpoint each boy, as with any boy band, through mere archetype. Of the collective’s seven singers and rappers, you’ve got Kevin, the group’s de facto leader and hypeman; JOBA, who’s got the sweet Timberlake falsetto; Dom, the man with the quick tongue and the wit to match; Matt, the stoic; Ameer, the man with the hooks; Merlyn, the dynamite stick of the group; and Bearface, the token balladeer.\u003c/p>\n\u003cp>But this undersells BROCKHAMPTON’s biggest strength. The thing that, beyond individual selling points, makes this nebulous agglomerate of teens and twentysomethings worth keeping an eye on as their star invariably rises: They genuinely care for each other, and by necessity, they really, truly make each other better. Best of all, they might just make the crowd better too.\u003c/p>\n\u003cfigure id=\"attachment_13809398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night, as with every stop on their inaugural tour thus far, was a showcase of their exuberant mutual enthusiasm, mouthing each other’s verses, ensuring that everyone in the group gets their individual shine. Really, what other rap collective would cede the stage entirely for one of its members to perform an alt-rock guitar ballad about a gay summer romance, complete with teenage audience-members waving \u003cem>actual\u003c/em> lighters in support?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork ratings be damned, they’re putting on one of the most dynamic, vivacious and celebratory shows — rap, boy band, or otherwise — I’ve seen in a long time. (On that note, the shirts that are adorned with the \u003ca href=\"https://pitchfork.com/reviews/albums/brockhampton-saturation/\">middling Pitchfork review of SATURATION were a nice touch\u003c/a>. So too was the “F-ck Pitchfork” chant early on in the set.)\u003c/p>\n\u003cfigure id=\"attachment_13809399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg\" alt=\"Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly everyone in the crowd sang and rapped and moshed along the entire set, a feat that would be less impressive if they hadn’t dropped two mixtapes in the past six months, with a third coming in mid-October. For at least three songs — “JUNKY,” “GOLD,” and “STAR,” by my tally — there was hardly a person in the room that wasn’t, at the very least, singing along to the endless barrage of hooks they’ve snuck into nearly every song. (Or, in the case of “STAR,” singing along at least seven times — an act of \u003ca href=\"https://www.youtube.com/watch?v=x9PSOScbMto\">Jay-Ye-inspired wish fulfillment.\u003c/a>)\u003c/p>\n\u003cp>And this is what makes shows like this one so electric. BROCKHAMPTON’s unabashed glee at hearing their lyrics recited back to them reverberated back to the crowd. I, for one, couldn’t stop grinning.\u003c/p>\n\u003cfigure id=\"attachment_13809401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sense of humor — weird, snarky and profoundly goofy at once — certainly did amplify the delirious feeling of the evening. At one point, they burst into that move-it-move-it theme song from \u003cem>Madagascar\u003c/em>, before commanding everyone in the crowd — yes, even the security — to “shake their ass.” Then, they dedicated the whole song, “JELLO,” in honor of One Direction, a song that, of course, features a line about “making out with Zayn in a lawn chair.”\u003c/p>\n\u003cp>In all fairness, BROCKHAMPTON will probably never become a boy band to the magnitude of their idols. But I could believe that they’re the best one, if only because, for a minute, they got a critical mass of teens to sing along to lines like \u003cem>that\u003c/em>. Where else would I have heard hundreds of young fans rap along to Kevin’s “I don’t f-ck with no white boys / \u003ca href=\"https://i.redd.it/1ijcyj44cb9z.jpg\">‘Less that n-gga’s Shawn Mendes\u003c/a>” line in “STAR” once, let alone seven times?\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"13809402,13809403,13809397\"]\u003c/p>\n\u003cp>This is the level of total openness and radical acceptance that the biggest boy bands, \u003ca href=\"http://metro.co.uk/2017/07/25/louis-tomlinson-finally-addresses-those-larry-stylinson-romance-rumours-6803685/\">the ones engineered by \u003cem>The X-Factor\u003c/em> brain trust\u003c/a>, could only hope for.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>BROCKHAMPTON plays the Social Hall in San Francisco again on Sunday, Oct. 1. The show is sold out.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 905,
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705029479,
"excerpt": "The live version of the young 17-member hip-hop collective caused a wild, chaotic frenzy in their first San Francisco stop.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The live version of the young 17-member hip-hop collective caused a wild, chaotic frenzy in their first San Francisco stop.",
"title": "Live Review: BROCKHAMPTON's Anarchic Hip-Hop at Social Hall | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live Review: BROCKHAMPTON's Anarchic Hip-Hop at Social Hall",
"datePublished": "2017-09-25T11:26:38-07:00",
"dateModified": "2024-01-11T19:17:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "live-review-brockhamptons-anarchic-hip-hop-at-social-hall-san-francisco",
"status": "publish",
"sticky": false,
"path": "/arts/13809454/live-review-brockhamptons-anarchic-hip-hop-at-social-hall-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys of BROCKHAMPTON would like you to refer to them as, per the group’s founder Kevin Abstract’s words, “the best boy band in the motherf-ckin’ world.” After just three songs into their set on Sunday night — with the entire crowd chanting along at ear-piercing volume, with girls, boys and non-binary folks alike in the front row hoisting signs of adoration, with security rescuing exhausted fans from the front row and handing out bottles of water to others — the description certainly fit.\u003c/p>\n\u003cp>For the uninitiated, BROCKHAMPTON is a \u003ca href=\"http://www.thefader.com/2017/07/13/brockhampton-members-kevin-abstract-interview-saturation\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles-via-Texas 17-member collective\u003c/a> made up of rappers, singers, videographers, producers and designers who have amassed a young, adoring fanbase from their self-released, self-produced mixtapes and music videos. Their oldest member is 24, they are multiracial, queer and straight, and wildly prolific. Up to nine of them, at any given moment, were on stage last night, Sep. 24, at the Social Hall in San Francisco — their first show ever in the city.\u003c/p>\n\u003cfigure id=\"attachment_13809396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it would be fitting to pinpoint each boy, as with any boy band, through mere archetype. Of the collective’s seven singers and rappers, you’ve got Kevin, the group’s de facto leader and hypeman; JOBA, who’s got the sweet Timberlake falsetto; Dom, the man with the quick tongue and the wit to match; Matt, the stoic; Ameer, the man with the hooks; Merlyn, the dynamite stick of the group; and Bearface, the token balladeer.\u003c/p>\n\u003cp>But this undersells BROCKHAMPTON’s biggest strength. The thing that, beyond individual selling points, makes this nebulous agglomerate of teens and twentysomethings worth keeping an eye on as their star invariably rises: They genuinely care for each other, and by necessity, they really, truly make each other better. Best of all, they might just make the crowd better too.\u003c/p>\n\u003cfigure id=\"attachment_13809398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night, as with every stop on their inaugural tour thus far, was a showcase of their exuberant mutual enthusiasm, mouthing each other’s verses, ensuring that everyone in the group gets their individual shine. Really, what other rap collective would cede the stage entirely for one of its members to perform an alt-rock guitar ballad about a gay summer romance, complete with teenage audience-members waving \u003cem>actual\u003c/em> lighters in support?\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>Pitchfork ratings be damned, they’re putting on one of the most dynamic, vivacious and celebratory shows — rap, boy band, or otherwise — I’ve seen in a long time. (On that note, the shirts that are adorned with the \u003ca href=\"https://pitchfork.com/reviews/albums/brockhampton-saturation/\">middling Pitchfork review of SATURATION were a nice touch\u003c/a>. So too was the “F-ck Pitchfork” chant early on in the set.)\u003c/p>\n\u003cfigure id=\"attachment_13809399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg\" alt=\"Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly everyone in the crowd sang and rapped and moshed along the entire set, a feat that would be less impressive if they hadn’t dropped two mixtapes in the past six months, with a third coming in mid-October. For at least three songs — “JUNKY,” “GOLD,” and “STAR,” by my tally — there was hardly a person in the room that wasn’t, at the very least, singing along to the endless barrage of hooks they’ve snuck into nearly every song. (Or, in the case of “STAR,” singing along at least seven times — an act of \u003ca href=\"https://www.youtube.com/watch?v=x9PSOScbMto\">Jay-Ye-inspired wish fulfillment.\u003c/a>)\u003c/p>\n\u003cp>And this is what makes shows like this one so electric. BROCKHAMPTON’s unabashed glee at hearing their lyrics recited back to them reverberated back to the crowd. I, for one, couldn’t stop grinning.\u003c/p>\n\u003cfigure id=\"attachment_13809401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sense of humor — weird, snarky and profoundly goofy at once — certainly did amplify the delirious feeling of the evening. At one point, they burst into that move-it-move-it theme song from \u003cem>Madagascar\u003c/em>, before commanding everyone in the crowd — yes, even the security — to “shake their ass.” Then, they dedicated the whole song, “JELLO,” in honor of One Direction, a song that, of course, features a line about “making out with Zayn in a lawn chair.”\u003c/p>\n\u003cp>In all fairness, BROCKHAMPTON will probably never become a boy band to the magnitude of their idols. But I could believe that they’re the best one, if only because, for a minute, they got a critical mass of teens to sing along to lines like \u003cem>that\u003c/em>. Where else would I have heard hundreds of young fans rap along to Kevin’s “I don’t f-ck with no white boys / \u003ca href=\"https://i.redd.it/1ijcyj44cb9z.jpg\">‘Less that n-gga’s Shawn Mendes\u003c/a>” line in “STAR” once, let alone seven times?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "square",
"ids": "13809402,13809403,13809397",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the level of total openness and radical acceptance that the biggest boy bands, \u003ca href=\"http://metro.co.uk/2017/07/25/louis-tomlinson-finally-addresses-those-larry-stylinson-romance-rumours-6803685/\">the ones engineered by \u003cem>The X-Factor\u003c/em> brain trust\u003c/a>, could only hope for.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>BROCKHAMPTON plays the Social Hall in San Francisco again on Sunday, Oct. 1. The show is sold out.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13809454/live-review-brockhamptons-anarchic-hip-hop-at-social-hall-san-francisco",
"authors": [
"11371"
],
"categories": [
"arts_69"
],
"tags": [
"arts_831",
"arts_596",
"arts_769"
],
"featImg": "arts_13809400",
"label": "arts"
},
"arts_13809270": {
"type": "posts",
"id": "arts_13809270",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13809270",
"score": null,
"sort": [
1506085214000
]
},
"guestAuthors": [],
"slug": "a-college-bound-lad-and-his-unbound-dad-in-brads-status",
"title": "A College-Bound Lad And His Unbound Dad In 'Brad's Status'",
"publishDate": 1506085214,
"format": "standard",
"headTitle": "A College-Bound Lad And His Unbound Dad In ‘Brad’s Status’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s an oft-told tale, in Hollywood: A good man wracked by his envy of others he deems more successful than he at scoring the usual American-Dream jackpots of money, status, and fame. He eats himself alive over this at self-defeating length that’s both funny and sad. At the climax other, mostly female, not-rich salts of the earth swoop in to persuade him that, OMG, it’s a wonderful life just as it is. \u003c/p>\n\u003cp>Should we smell a rat when such tales are peddled by men whose bling exceeds all our blah prospects put together? Maybe, but when Mike White weighs in, it’s worth following along with the nervously inventive mind that brought wonderfully skewed angles to bear on the lives of disgruntled plebs in movies from \u003cem>The Good Girl\u003c/em> to \u003cem>Chuck & Buck\u003c/em> to the recent \u003cem>Beatriz at Dinner\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/eJQWL74p02Q\u003c/p>\n\u003cp>“First-world problems,” I heard someone mutter coming out of a critics’ screening of \u003cem>Brad’s Status\u003c/em>, a dramedy written and directed by White about a middle-aged, middle-income family man freaking out while on a college tour with his teenaged son. Maybe so, but a Mike White movie rarely goes where you think it’s going, even if it slots into place by the finish. Though it’s less a departure from the mold than a meander home, \u003cem>Brad’s Status\u003c/em> offers usefully excruciating insights into the wild swings between hubris and self-laceration that fuel our daily efforts to solidify a coherent self. \u003c/p>\n\u003cp>No center holds for long in the head of Brad Sloan (Ben Stiller), a comfortably-off fellow who runs a non-profit in Sacramento, where his loving wife (Jenna Fischer) works for the Government. Even before he sets off with his college-bound son, Troy (\u003cem>The Walking Dead\u003c/em>‘s Austin Abrams), Brad lies awake at night obsessing over the achievements of his former college posse at Tufts University, now pulling in the big bucks respectively as a Hollywood big cheese (White himself), a hedge fund manager (Luke Wilson), a retired tech entrepreneur (Jemaine Clement) living it up on a pleasure island, and a preening political pundit amusingly undercooked by Michael Sheen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once arrived in Boston, the perfect stage for a face-off between elite dreams and rest-of-the-world reality, Brad misses no opportunity to act out. He embarrasses his son and alienates everyone from Harvard Deans to other parents patiently waiting their turns, to some pretty cool undergrads with life-lessons to impart if he were only listening. There’s some situational goofball here, interspersed with frequent cutaways to lurid scenarios in which Brad fantasizes how his former college pals live. \u003c/p>\n\u003cp>Like many comic actors Stiller can be tenaciously dour in a dramatic role, but, give or take a few too many close-ups of Brad gazing like a frightened deer into the camera, he makes a pretty convincing Everyman in free fall. Still, the movie is really a two-man show, and Abrams is magnificently downbeat as Troy, a remarkably sane, strategically monosyllabic kid who knows intuitively that he doesn’t yet know what he wants from life, nor should he. The serious joke that drives \u003cem>Brad’s Status\u003c/em> is that at 17 years old, Troy is way more together and less tortured than his father and putative guide.\u003c/p>\n\u003cp>The less Brad knows, the more he projects his fears and desires onto others. It goes without saying that he will learn, via a clued-in stranger who’s younger than he by several decades, that real people are complicated and mysterious: one friend with a rather crooked success story can also be a devoted family man, another a self-promoting opportunist who’s also genuinely delighted to catch up with an old college friend, still another who’s too strung out to notice he’s supposed to be having the time of his life. \u003c/p>\n\u003cp>But the most interesting moments in \u003cem>Brad’s Status\u003c/em> unfold inside its protagonist’s head — always the place where White as a filmmakeris most at home — with a suitably whiny atonal violin sawing away on the soundtrack to mirror his feverishly insecure voiceover. Instead of the usual steady advance to enlightenment, Brad’s journey is a choppy sequence of clouds forming and parting. Every return to equilibrium presages a detour into a fresh illusory fantasy, a new source of envy, followed by a desperate clawing back to equilibrium, and so on. Things fall into place with disarming ease, and I came out wishing that \u003cem>Brad’s Status\u003c/em> militated a little less for an individual attitude adjustment and a little more for a reset of the American Dreams that drive us crazy. Rarely, though, has a mainstream movie so pointedly documented the free-floating anxieties of our time and place along the way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the kids are all right.\u003c/p>\n\n",
"blocks": [],
"excerpt": "In Mike White's latest film, Ben Stiller plays a middle-aged man so consumed by envy that he fails to grasp how much his emotionally mature son could teach him. ",
"status": "publish",
"parent": 0,
"modified": 1726705200,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 838
},
"headData": {
"title": "A College-Bound Lad And His Unbound Dad In 'Brad's Status' | KQED",
"description": "In Mike White's latest film, Ben Stiller plays a middle-aged man so consumed by envy that he fails to grasp how much his emotionally mature son could teach him. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A College-Bound Lad And His Unbound Dad In 'Brad's Status'",
"datePublished": "2017-09-22T06:00:14-07:00",
"dateModified": "2024-09-18T17:20:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jonathan Wenk",
"nprByline": "Ella Taylor",
"nprImageAgency": "Annapurna",
"nprStoryId": "549522147",
"nprApiLink": "http://api.npr.org/query?id=549522147&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2017/09/14/549522147/a-college-bound-lad-and-his-unbound-dad-in-brad-s-status?ft=nprml&f=549522147",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 14 Sep 2017 17:00:00 -0400",
"nprStoryDate": "Thu, 14 Sep 2017 17:00:26 -0400",
"nprLastModifiedDate": "Thu, 14 Sep 2017 17:00:26 -0400",
"path": "/arts/13809270/a-college-bound-lad-and-his-unbound-dad-in-brads-status",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an oft-told tale, in Hollywood: A good man wracked by his envy of others he deems more successful than he at scoring the usual American-Dream jackpots of money, status, and fame. He eats himself alive over this at self-defeating length that’s both funny and sad. At the climax other, mostly female, not-rich salts of the earth swoop in to persuade him that, OMG, it’s a wonderful life just as it is. \u003c/p>\n\u003cp>Should we smell a rat when such tales are peddled by men whose bling exceeds all our blah prospects put together? Maybe, but when Mike White weighs in, it’s worth following along with the nervously inventive mind that brought wonderfully skewed angles to bear on the lives of disgruntled plebs in movies from \u003cem>The Good Girl\u003c/em> to \u003cem>Chuck & Buck\u003c/em> to the recent \u003cem>Beatriz at Dinner\u003c/em>.\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/eJQWL74p02Q'\n title='//www.youtube.com/embed/eJQWL74p02Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“First-world problems,” I heard someone mutter coming out of a critics’ screening of \u003cem>Brad’s Status\u003c/em>, a dramedy written and directed by White about a middle-aged, middle-income family man freaking out while on a college tour with his teenaged son. Maybe so, but a Mike White movie rarely goes where you think it’s going, even if it slots into place by the finish. Though it’s less a departure from the mold than a meander home, \u003cem>Brad’s Status\u003c/em> offers usefully excruciating insights into the wild swings between hubris and self-laceration that fuel our daily efforts to solidify a coherent self. \u003c/p>\n\u003cp>No center holds for long in the head of Brad Sloan (Ben Stiller), a comfortably-off fellow who runs a non-profit in Sacramento, where his loving wife (Jenna Fischer) works for the Government. Even before he sets off with his college-bound son, Troy (\u003cem>The Walking Dead\u003c/em>‘s Austin Abrams), Brad lies awake at night obsessing over the achievements of his former college posse at Tufts University, now pulling in the big bucks respectively as a Hollywood big cheese (White himself), a hedge fund manager (Luke Wilson), a retired tech entrepreneur (Jemaine Clement) living it up on a pleasure island, and a preening political pundit amusingly undercooked by Michael Sheen.\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>Once arrived in Boston, the perfect stage for a face-off between elite dreams and rest-of-the-world reality, Brad misses no opportunity to act out. He embarrasses his son and alienates everyone from Harvard Deans to other parents patiently waiting their turns, to some pretty cool undergrads with life-lessons to impart if he were only listening. There’s some situational goofball here, interspersed with frequent cutaways to lurid scenarios in which Brad fantasizes how his former college pals live. \u003c/p>\n\u003cp>Like many comic actors Stiller can be tenaciously dour in a dramatic role, but, give or take a few too many close-ups of Brad gazing like a frightened deer into the camera, he makes a pretty convincing Everyman in free fall. Still, the movie is really a two-man show, and Abrams is magnificently downbeat as Troy, a remarkably sane, strategically monosyllabic kid who knows intuitively that he doesn’t yet know what he wants from life, nor should he. The serious joke that drives \u003cem>Brad’s Status\u003c/em> is that at 17 years old, Troy is way more together and less tortured than his father and putative guide.\u003c/p>\n\u003cp>The less Brad knows, the more he projects his fears and desires onto others. It goes without saying that he will learn, via a clued-in stranger who’s younger than he by several decades, that real people are complicated and mysterious: one friend with a rather crooked success story can also be a devoted family man, another a self-promoting opportunist who’s also genuinely delighted to catch up with an old college friend, still another who’s too strung out to notice he’s supposed to be having the time of his life. \u003c/p>\n\u003cp>But the most interesting moments in \u003cem>Brad’s Status\u003c/em> unfold inside its protagonist’s head — always the place where White as a filmmakeris most at home — with a suitably whiny atonal violin sawing away on the soundtrack to mirror his feverishly insecure voiceover. Instead of the usual steady advance to enlightenment, Brad’s journey is a choppy sequence of clouds forming and parting. Every return to equilibrium presages a detour into a fresh illusory fantasy, a new source of envy, followed by a desperate clawing back to equilibrium, and so on. Things fall into place with disarming ease, and I came out wishing that \u003cem>Brad’s Status\u003c/em> militated a little less for an individual attitude adjustment and a little more for a reset of the American Dreams that drive us crazy. Rarely, though, has a mainstream movie so pointedly documented the free-floating anxieties of our time and place along the way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the kids are all right.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13809270/a-college-bound-lad-and-his-unbound-dad-in-brads-status",
"authors": [
"byline_arts_13809270"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_769"
],
"featImg": "arts_13809271",
"label": "arts"
},
"arts_13809040": {
"type": "posts",
"id": "arts_13809040",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13809040",
"score": null,
"sort": [
1506006041000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1506006041,
"format": "standard",
"title": "An Artist Chuckles and the Audience Follows in Cantor's ‘Curiouser’",
"headTitle": "An Artist Chuckles and the Audience Follows in Cantor’s ‘Curiouser’ | KQED",
"content": "\u003cp>What makes Nina Katchadourian laugh?\u003c/p>\n\u003cp>This is the question that has occupied my mind since viewing \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener noreferrer\">Curiouser\u003c/a>, Katchadourian’s mid-career retrospective now on view at the Iris & B. Gerald Cantor Center for the Visual Arts. Curated by Veronica Roberts for the Blanton Museum in Austin, the Cantor Center is the only West Coast stop this charming installation will make. For Katchadourian, who was born and raised in Stanford, it is a sort homecoming. For audiences, it is an opportunity to, as the artist does, appreciate the magic that can be found in the mundane.\u003c/p>\n\u003cfigure id=\"attachment_13809194\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640.jpg\" alt=\"Nina Katchadourian, 'Mended Spiderweb #14 (Spoon Patch),' 1998.\" width=\"640\" height=\"941\" class=\"size-full wp-image-13809194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-375x551.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-520x765.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Mended Spiderweb #14 (Spoon Patch),’ 1998. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katchadourian’s wide ranging interests — mapping, translation and public space — are framed by opposing concepts: expanse and limitation. Expanse is the artist’s fertile imagination, the beginnings of which are exposed in the video installation \u003ca href=\"https://cclarkgallery.com/exhibitions/katchadourian-the-recarcassing-ceremony-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Recarcassing Ceremony\u003c/i>\u003c/a>. \u003c/p>\n\u003cp>Originally commissioned by the Massachusetts Museum of Contemporary Art, the 24-minute single-channel video recounts a childhood game gone astray. The artist and her brother Kai once lost a toy boat and two \u003ca href=\"http://www.playmobil.us/home-show\">Playmobil\u003c/a> figures to unpredictable surf. The film, assembled from family interviews and historical audio recordings, re-enacts a ceremony in which the souls of the lost figurines were transplanted into the bodies of two other plastic figurines.\u003c/p>\n\u003cp>While voicing with all the maturity she can muster the “family members” who help to revive the Lazarus-like characters, Katchadourian’s voice breaks into unrestrained giggles. Those of us in the theater also laughed, because how could we not? By itself, the playfully re-staged ceremony and nostalgic conversations with her parents about ritualistic adolescent play is absorbing. When it pivots unexpectedly to capture a stark existential truth — change, or loss — as her adult sibling recalls the moment when he knew that the days of imaginative adventures with his sister were numbered, the honesty is heart-rending.\u003c/p>\n\u003cfigure id=\"attachment_13809192\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200.jpg\" alt=\"Nina Katchadourian, 'Mountain Climbers (Apple),' 2011. From 'Seat Assignment,' 2010-ongoing.\" width=\"1200\" height=\"1607\" class=\"size-full wp-image-13809192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-960x1286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-520x696.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Mountain Climbers (Apple),’ 2011. From ‘Seat Assignment,’ 2010-ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Limitation in Katchadourian’s work is evident throughout her projects. Photographing titles for the series \u003ca href=\"http://ninakatchadourian.com/languagetranslation/sortedbooks.php\">\u003ci>Sorted Books\u003c/i>\u003c/a>, she works only with what’s made accessible by a given collector or institution, and always to poetic and hilarious ends. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Staging photographic or video tableaus for \u003ca href=\"http://ninakatchadourian.com/photography/seatassignment.php\">\u003ci>Seat Assignment\u003c/i>\u003c/a> — a multimedia series she initiated as an exercise in disciplined time management and productivity during long domestic and international flights — the artist uses only those props that are immediately available, such as in-flight magazines and snack foods, blankets, and personal items she brings on board. The resulting photographs of magazine pages modified by added food items or mirrored in seatbelt buckle reflections represent what, in Katchadourian’s practice, comes of sustained experimentation within constraints.\u003c/p>\n\u003cp>\u003cem>Seat Assignment\u003c/em> includes three music videos and \u003ca href=\"http://www.ninakatchadourian.com/photography/sa-flemish.php/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Lavatory Self-Portraits in the Flemish Style\u003c/i>\u003c/a>, which lit up the internet in 2012 after a short \u003ca href=\"http://www.huffingtonpost.com/2012/04/11/nina-katchadourian-artist_n_1418893.html\">Huffington Post\u003c/a> piece was published. \u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" class=\"size-full wp-image-13809195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait\u003cbr>in the Flemish Style #12.’ From ‘Seat Assignment,’\u003cbr>2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The videos elicited smiles if not a hearty laugh from everyone who watched them — and had me marveling at the artist’s concentration amidst such absurdity. With these and still photographs, Katchadourian imagines what interactions sitters in pendant Flemish portraits may have had if AC/DC’s “You Shook Me” or the Bowie/Queen gem “Under Pressure” was the music of their day. \u003c/p>\n\u003cp>By far Katchadourian’s most well-known work, the self-portraits in which she substitutes paper toilet seat covers for the stiff lace collars worn by wealthy medieval sitters capture the grinding, endurance-test aspect of airline travel, and mass-media’s pervasive influence in identity formation over time.\u003c/p>\n\u003cp>While placing restrictions on creative output could choke if not kill an artist’s practice, Katchadourian treats it as an opportunity to think deeply about and act on ideas that might never come to fruition under more fluid terms. Out of that discipline emerges work that advances close observation of life’s small details and humor as concepts both worthy of sustained artistic exploration. The bodies of work that comprise \u003cem>Curiouser\u003c/em> suggest that though Katchadourian could be satisfied in making herself laugh, the personal and professional triumph comes from helping audiences see joy in even its most subtle forms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Curiouser’ is on view at the Iris & B. Gerald Cantor Center for the Visual Arts at Stanford University through Jan. 7, 2018. For more information, \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 790,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705029493,
"excerpt": "Nina Katchadourian's mid-career retrospective is an opportunity to appreciate the magic that can be found in the mundane.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Nina Katchadourian's mid-career retrospective is an opportunity to appreciate the magic that can be found in the mundane.",
"title": "An Artist Chuckles and the Audience Follows in Cantor's ‘Curiouser’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An Artist Chuckles and the Audience Follows in Cantor's ‘Curiouser’",
"datePublished": "2017-09-21T08:00:41-07:00",
"dateModified": "2024-01-11T19:18:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser",
"status": "publish",
"sticky": false,
"path": "/arts/13809040/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What makes Nina Katchadourian laugh?\u003c/p>\n\u003cp>This is the question that has occupied my mind since viewing \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener noreferrer\">Curiouser\u003c/a>, Katchadourian’s mid-career retrospective now on view at the Iris & B. Gerald Cantor Center for the Visual Arts. Curated by Veronica Roberts for the Blanton Museum in Austin, the Cantor Center is the only West Coast stop this charming installation will make. For Katchadourian, who was born and raised in Stanford, it is a sort homecoming. For audiences, it is an opportunity to, as the artist does, appreciate the magic that can be found in the mundane.\u003c/p>\n\u003cfigure id=\"attachment_13809194\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640.jpg\" alt=\"Nina Katchadourian, 'Mended Spiderweb #14 (Spoon Patch),' 1998.\" width=\"640\" height=\"941\" class=\"size-full wp-image-13809194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-375x551.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.17.2017_Spiderweb_640-520x765.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Mended Spiderweb #14 (Spoon Patch),’ 1998. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katchadourian’s wide ranging interests — mapping, translation and public space — are framed by opposing concepts: expanse and limitation. Expanse is the artist’s fertile imagination, the beginnings of which are exposed in the video installation \u003ca href=\"https://cclarkgallery.com/exhibitions/katchadourian-the-recarcassing-ceremony-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Recarcassing Ceremony\u003c/i>\u003c/a>. \u003c/p>\n\u003cp>Originally commissioned by the Massachusetts Museum of Contemporary Art, the 24-minute single-channel video recounts a childhood game gone astray. The artist and her brother Kai once lost a toy boat and two \u003ca href=\"http://www.playmobil.us/home-show\">Playmobil\u003c/a> figures to unpredictable surf. The film, assembled from family interviews and historical audio recordings, re-enacts a ceremony in which the souls of the lost figurines were transplanted into the bodies of two other plastic figurines.\u003c/p>\n\u003cp>While voicing with all the maturity she can muster the “family members” who help to revive the Lazarus-like characters, Katchadourian’s voice breaks into unrestrained giggles. Those of us in the theater also laughed, because how could we not? By itself, the playfully re-staged ceremony and nostalgic conversations with her parents about ritualistic adolescent play is absorbing. When it pivots unexpectedly to capture a stark existential truth — change, or loss — as her adult sibling recalls the moment when he knew that the days of imaginative adventures with his sister were numbered, the honesty is heart-rending.\u003c/p>\n\u003cfigure id=\"attachment_13809192\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200.jpg\" alt=\"Nina Katchadourian, 'Mountain Climbers (Apple),' 2011. From 'Seat Assignment,' 2010-ongoing.\" width=\"1200\" height=\"1607\" class=\"size-full wp-image-13809192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-960x1286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/L.23.88.2017_Mountain_Climbers_1200-520x696.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Mountain Climbers (Apple),’ 2011. From ‘Seat Assignment,’ 2010-ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Limitation in Katchadourian’s work is evident throughout her projects. Photographing titles for the series \u003ca href=\"http://ninakatchadourian.com/languagetranslation/sortedbooks.php\">\u003ci>Sorted Books\u003c/i>\u003c/a>, she works only with what’s made accessible by a given collector or institution, and always to poetic and hilarious ends. \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>Staging photographic or video tableaus for \u003ca href=\"http://ninakatchadourian.com/photography/seatassignment.php\">\u003ci>Seat Assignment\u003c/i>\u003c/a> — a multimedia series she initiated as an exercise in disciplined time management and productivity during long domestic and international flights — the artist uses only those props that are immediately available, such as in-flight magazines and snack foods, blankets, and personal items she brings on board. The resulting photographs of magazine pages modified by added food items or mirrored in seatbelt buckle reflections represent what, in Katchadourian’s practice, comes of sustained experimentation within constraints.\u003c/p>\n\u003cp>\u003cem>Seat Assignment\u003c/em> includes three music videos and \u003ca href=\"http://www.ninakatchadourian.com/photography/sa-flemish.php/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Lavatory Self-Portraits in the Flemish Style\u003c/i>\u003c/a>, which lit up the internet in 2012 after a short \u003ca href=\"http://www.huffingtonpost.com/2012/04/11/nina-katchadourian-artist_n_1418893.html\">Huffington Post\u003c/a> piece was published. \u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" class=\"size-full wp-image-13809195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait\u003cbr>in the Flemish Style #12.’ From ‘Seat Assignment,’\u003cbr>2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The videos elicited smiles if not a hearty laugh from everyone who watched them — and had me marveling at the artist’s concentration amidst such absurdity. With these and still photographs, Katchadourian imagines what interactions sitters in pendant Flemish portraits may have had if AC/DC’s “You Shook Me” or the Bowie/Queen gem “Under Pressure” was the music of their day. \u003c/p>\n\u003cp>By far Katchadourian’s most well-known work, the self-portraits in which she substitutes paper toilet seat covers for the stiff lace collars worn by wealthy medieval sitters capture the grinding, endurance-test aspect of airline travel, and mass-media’s pervasive influence in identity formation over time.\u003c/p>\n\u003cp>While placing restrictions on creative output could choke if not kill an artist’s practice, Katchadourian treats it as an opportunity to think deeply about and act on ideas that might never come to fruition under more fluid terms. Out of that discipline emerges work that advances close observation of life’s small details and humor as concepts both worthy of sustained artistic exploration. The bodies of work that comprise \u003cem>Curiouser\u003c/em> suggest that though Katchadourian could be satisfied in making herself laugh, the personal and professional triumph comes from helping audiences see joy in even its most subtle forms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Curiouser’ is on view at the Iris & B. Gerald Cantor Center for the Visual Arts at Stanford University through Jan. 7, 2018. For more information, \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13809040/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser",
"authors": [
"77"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_3648",
"arts_596",
"arts_769",
"arts_901"
],
"featImg": "arts_13809193",
"label": "arts"
},
"arts_13808739": {
"type": "posts",
"id": "arts_13808739",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808739",
"score": null,
"sort": [
1505919624000
]
},
"guestAuthors": [],
"slug": "at-city-limits-sofia-cordova-imagines-life-after-humanity",
"title": "At City Limits, Sofía Córdova Imagines Life After Humanity",
"publishDate": 1505919624,
"format": "standard",
"headTitle": "At City Limits, Sofía Córdova Imagines Life After Humanity | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Scientists who wish to highlight the incredible — and largely destructive — impact humans have had on the planet have proposed the term “Anthropocene” for a new geological epoch. This term has been gaining popularity, but epochs come and go, and if humans have brought about the end of the Holocene so quickly, can we be trusted with our own?\u003c/p>\n\u003cp>The answer is, of course, “no,” and \u003ca href=\"http://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sofía Córdova\u003c/a>’s \u003ci>The Gentle Voice That Talks To You Won’t Talk Forever\u003c/i> at Oakland’s \u003ca href=\"http://www.citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Limits Gallery\u003c/a> is a look at what might follow the Anthropocene. The outlook isn’t all that bad, but you might have to be non-human to fully appreciate it.\u003c/p>\n\u003cfigure id=\"attachment_13808766\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg\" alt=\"Sofía Córdova, 'They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),' 2017.\" width=\"3000\" height=\"2000\" class=\"size-full wp-image-13808766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-520x347.jpg 520w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Córdova speculates about a fictitious-yet-likely future in which nature has survived humanity, and though the exhibition doesn’t make the extinction of our young species explicit, it seems like a strong possibility. A three-channel 8mm and digital video lends an air of horror to the exhibition. Two of the flickering black and purple channels record cherry trees in a Seoul park devoid of human figures. Buildings and monuments are sometimes seen through the trees, but the deserted park is eerie. It’s a ghost town in the center of a metropolis. The third channel features the decomposing carcass of a blue whale on a Bolinas beach. Though these scenes are forbidding, they initially clash with the rest of the exhibition.\u003c/p>\n\u003cp>Looking on from the center of the gallery is a pink taxidermied dove perched on a pink rock. The dove rests on a classical column and seems to be holding court. None of the terror and bleakness of the video is present. In fact, whatever changes in the world the video documents seems to have allowed for the dove to reign — for peace to reign. This realization negates the horror in the video; it simply documents a peaceful landscape and the natural process of decay. It’s only from the human perspective that something is wrong; the trees and the birds are fine.\u003c/p>\n\u003cfigure id=\"attachment_13808767\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg\" alt=\"Sofía Córdova, 'Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),' 2017. \" width=\"640\" height=\"959\" class=\"size-large wp-image-13808767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20.jpg 2002w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An inspiration for this exhibition is Miharu Takizakura, a 1,000-year-old cherry tree in Fukushima Prefecture, Japan. The tree survived the region’s 2011 earthquake and nuclear disaster and has become a symbol of resilience. Córdova borrows the pale pink of cherry blossoms for nearly everything in the exhibition, including the overhead lights. This vaguely suggests radioactivity but also playfulness or joy, like a post-apocalyptic Instagram-friendly environment in search of participants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition is presented as an installation, with an ambient soundtrack by Córdova and Matthew Gonzalez Kirkland, shells and artificial coral (all pink, of course), reflective surfaces, a video projection, and hand-painted signs.\u003c/p>\n\u003cp>Many of the works, and especially their titles, refer ambiguously to events and entities, such as “the Psychic Wars” and “the Terror.” One 13-foot-long sign reads “nos comió los dulces” (translated as “she/they ate our candy”); another work is titled \u003ci>All That She Wants\u003c/i>. It is not clear what the history of this future is, or whose sentience is acknowledged in the works. Maybe it’s a sign that human life has survived somewhere, or maybe it merely represents a shift in the kinds of life afforded personhood and pronouns.\u003c/p>\n\u003cp>\u003cem>The Gentle Voice\u003c/em> reads as both a warning and a taunt: The Earth doesn’t need us. But the warning is what’s most urgent. Human-centered thinking should prioritize the preservation of our species and the environments in which we live. But if shortsightedness and instant gratification are central to the human experience, they shape our thinking about the world — hence our current predicaments of potential nuclear war, climate change, drought, deforestation, garbage islands, and artificial earthquakes. Paradoxically, our survival might rely upon our ability to imagine a world without humans and to imagine priorities beyond our own, since ours have proven to be so self-destructive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gentle Voice That Talks To You Won’t Talk Forever’ is on view at City Limits Gallery in Oakland through Oct. 22, 2017. For more information, \u003ca href=\"http://www.citylimitsgallery.com/the-gentle-voice-that-talks\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The outlook isn't all that bad, but you might have to be non-human to fully appreciate it.",
"status": "publish",
"parent": 0,
"modified": 1726704235,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 806
},
"headData": {
"title": "At City Limits, Sofía Córdova Imagines Life After Humanity | KQED",
"description": "The outlook isn't all that bad, but you might have to be non-human to fully appreciate it.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At City Limits, Sofía Córdova Imagines Life After Humanity",
"datePublished": "2017-09-20T08:00:24-07:00",
"dateModified": "2024-09-18T17:03:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scientists who wish to highlight the incredible — and largely destructive — impact humans have had on the planet have proposed the term “Anthropocene” for a new geological epoch. This term has been gaining popularity, but epochs come and go, and if humans have brought about the end of the Holocene so quickly, can we be trusted with our own?\u003c/p>\n\u003cp>The answer is, of course, “no,” and \u003ca href=\"http://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sofía Córdova\u003c/a>’s \u003ci>The Gentle Voice That Talks To You Won’t Talk Forever\u003c/i> at Oakland’s \u003ca href=\"http://www.citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Limits Gallery\u003c/a> is a look at what might follow the Anthropocene. The outlook isn’t all that bad, but you might have to be non-human to fully appreciate it.\u003c/p>\n\u003cfigure id=\"attachment_13808766\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg\" alt=\"Sofía Córdova, 'They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),' 2017.\" width=\"3000\" height=\"2000\" class=\"size-full wp-image-13808766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-520x347.jpg 520w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Córdova speculates about a fictitious-yet-likely future in which nature has survived humanity, and though the exhibition doesn’t make the extinction of our young species explicit, it seems like a strong possibility. A three-channel 8mm and digital video lends an air of horror to the exhibition. Two of the flickering black and purple channels record cherry trees in a Seoul park devoid of human figures. Buildings and monuments are sometimes seen through the trees, but the deserted park is eerie. It’s a ghost town in the center of a metropolis. The third channel features the decomposing carcass of a blue whale on a Bolinas beach. Though these scenes are forbidding, they initially clash with the rest of the exhibition.\u003c/p>\n\u003cp>Looking on from the center of the gallery is a pink taxidermied dove perched on a pink rock. The dove rests on a classical column and seems to be holding court. None of the terror and bleakness of the video is present. In fact, whatever changes in the world the video documents seems to have allowed for the dove to reign — for peace to reign. This realization negates the horror in the video; it simply documents a peaceful landscape and the natural process of decay. It’s only from the human perspective that something is wrong; the trees and the birds are fine.\u003c/p>\n\u003cfigure id=\"attachment_13808767\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg\" alt=\"Sofía Córdova, 'Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),' 2017. \" width=\"640\" height=\"959\" class=\"size-large wp-image-13808767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20.jpg 2002w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An inspiration for this exhibition is Miharu Takizakura, a 1,000-year-old cherry tree in Fukushima Prefecture, Japan. The tree survived the region’s 2011 earthquake and nuclear disaster and has become a symbol of resilience. Córdova borrows the pale pink of cherry blossoms for nearly everything in the exhibition, including the overhead lights. This vaguely suggests radioactivity but also playfulness or joy, like a post-apocalyptic Instagram-friendly environment in search of participants.\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 exhibition is presented as an installation, with an ambient soundtrack by Córdova and Matthew Gonzalez Kirkland, shells and artificial coral (all pink, of course), reflective surfaces, a video projection, and hand-painted signs.\u003c/p>\n\u003cp>Many of the works, and especially their titles, refer ambiguously to events and entities, such as “the Psychic Wars” and “the Terror.” One 13-foot-long sign reads “nos comió los dulces” (translated as “she/they ate our candy”); another work is titled \u003ci>All That She Wants\u003c/i>. It is not clear what the history of this future is, or whose sentience is acknowledged in the works. Maybe it’s a sign that human life has survived somewhere, or maybe it merely represents a shift in the kinds of life afforded personhood and pronouns.\u003c/p>\n\u003cp>\u003cem>The Gentle Voice\u003c/em> reads as both a warning and a taunt: The Earth doesn’t need us. But the warning is what’s most urgent. Human-centered thinking should prioritize the preservation of our species and the environments in which we live. But if shortsightedness and instant gratification are central to the human experience, they shape our thinking about the world — hence our current predicaments of potential nuclear war, climate change, drought, deforestation, garbage islands, and artificial earthquakes. Paradoxically, our survival might rely upon our ability to imagine a world without humans and to imagine priorities beyond our own, since ours have proven to be so self-destructive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gentle Voice That Talks To You Won’t Talk Forever’ is on view at City Limits Gallery in Oakland through Oct. 22, 2017. For more information, \u003ca href=\"http://www.citylimitsgallery.com/the-gentle-voice-that-talks\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity",
"authors": [
"187"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_3649",
"arts_596",
"arts_769",
"arts_901"
],
"featImg": "arts_13809029",
"label": "arts"
},
"arts_13808888": {
"type": "posts",
"id": "arts_13808888",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808888",
"score": null,
"sort": [
1505833232000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1505833232,
"format": "standard",
"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"headTitle": "Gorgeous ‘An American in Paris’ Musical has Soulless Lead Character | KQED",
"content": "\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 873,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705029513,
"excerpt": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"datePublished": "2017-09-19T08:00:32-07:00",
"dateModified": "2024-01-11T19:18:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "gorgeous-an-american-in-paris-musical-has-soulless-lead-character",
"status": "publish",
"sticky": false,
"path": "/arts/13808888/gorgeous-an-american-in-paris-musical-has-soulless-lead-character",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\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>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808888/gorgeous-an-american-in-paris-musical-has-soulless-lead-character",
"authors": [
"8668"
],
"categories": [
"arts_966",
"arts_235",
"arts_967"
],
"tags": [
"arts_2347",
"arts_1118",
"arts_977",
"arts_596",
"arts_2366",
"arts_769"
],
"featImg": "arts_13808892",
"label": "arts"
},
"arts_13808519": {
"type": "posts",
"id": "arts_13808519",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808519",
"score": null,
"sort": [
1505487603000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1505487603,
"format": "standard",
"title": "‘mother!’ Invents a Bleak Mythology for Jennifer Lawrence",
"headTitle": "‘mother!’ Invents a Bleak Mythology for Jennifer Lawrence | KQED",
"content": "\u003cp>The camera hovers behind Jennifer Lawrence’s shoulders throughout \u003cem>mother!\u003c/em> Unlike an omniscient drone, Darren Aronofsky’s lens is entirely subjective, seeing and understanding only what her character does. It’s not simply capturing her movements down a staircase or into a poorly lit basement, the director stays near to create the illusion — and, more crucially, the feeling — that he’s revealing her disturbed consciousness to those of us watching.\u003c/p>\n\u003cp>As Mother, Lawrence’s every emotion registers on screen in each successively distressing close-up. Because this is an Aronofsky movie, joy isn’t one of those emotions.\u003c/p>\n\u003cfigure id=\"attachment_13808521\" class=\"wp-caption alignright\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/poster.jpg\" alt=\"\" width=\"710\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-520x778.jpg 520w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">mother! (Courtesy of Paramount Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Self-sacrifice is a recurring theme in his work — from \u003cem>The Fountain\u003c/em> to \u003cem>The Wrestler\u003c/em> to \u003cem>Black Swan.\u003c/em> \u003cem>mother!\u003c/em> isn’t an exception to the rule. We need only look at a promotional poster released earlier this year: Lawrence holds her own bleeding heart out to us, torn from the open wound in the center of her still-seeping chest.\u003c/p>\n\u003cp>Katniss Everdeen, the avenging huntress she played in \u003cem>The Hunger Games\u003c/em>, has been erased. In her stead stands a sylph, a creature without guile, some ephemeral yet vulnerable spirit of nature.\u003c/p>\n\u003cp>Mother lives with Him (Javier Bardem) in an immense country house surrounded by nothing but trees. Bardem brings as much menace to this role as he did playing a remorseless killer in 2008’s \u003cem>No Country for Old Men\u003c/em>. Him is a celebrated poet with writer’s block and a mean streak of narcissism. If it’s not yet clear, Aronofsky doesn’t provide any given names in the film. The supporting cast is identified with Biblical or possibly tarot card referents, such as Fool, Damsel, Zealot, Cupbearer and Idler. Like the other characters, Him isn’t just an artist — he represents every man, especially those with the basest, cruelest instincts when it comes to the (mis)treatment of women.\u003c/p>\n\u003cfigure id=\"attachment_13808563\" class=\"wp-caption aligncenter\" style=\"max-width: 1393px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1393\" height=\"800\" class=\"size-full wp-image-13808563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg 1393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-768x441.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1180x678.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-960x551.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-520x299.jpg 520w\" sizes=\"(max-width: 1393px) 100vw, 1393px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Him and Mother’s brief idyll is disturbed by Man (Ed Harris) and Woman (Michelle Pfeiffer), who arrive at the house by accident, believing it to be a bed and breakfast. When Him offers to let them stay without consulting Mother, it’s the first troubling sign that her wishes — for privacy — will be ignored. What follows is a series of violations of her domestic need for order. She wants her nest to remain inviolable. Instead, the unwanted house guests are careless with her things, disputing her sense of ownership and breaking the unwritten laws that transform a home into a sanctuary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pfeiffer’s Woman is an immoral goddess of chaos and carnality. Her performance disturbs the atmosphere of this world even more than Bardem’s because nothing she does is predictable. We know he’s the personification of evil, but we don’t know if Woman’s giving Mother warnings or threats — or both. When Aronofsky leaves Pfeiffer behind for his overly-determined plot, he’s leaving something vital and real on the cutting room floor. We wish for Woman to be the key to the complex mystery of \u003ci>mother!\u003c/i> just to see what else Pfeiffer will do.\u003c/p>\n\u003cfigure id=\"attachment_13808562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13808562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mother, on the other hand, projects passivity and deference. She genuflects towards Him; in many scenes she employs a broom or a cloth to clean up after inconsiderate guests. Combined with the poster imagery, Aronofsky has invented his own mythology. Or, if you prefer, synthesized some old ones and applied them to the 21st century.\u003c/p>\n\u003cp>During a \u003ca href=\"http://video.vanityfair.com/watch/toronto-international-film-festival-fear-terror-and-vulnerability-with-jennifer-lawrence-2017-09-12?c=series\" target=\"_blank\" rel=\"noopener noreferrer\">recent interview\u003c/a> at the Toronto International Film Festival, Lawrence said that she wanted the audience to feel “empathy for our earth” after watching \u003ci>mother!\u003c/i> She and Aronofsky would like us to view the movie as an allegory, something along the lines of, “We’re destroying Mother Earth.”\u003c/p>\n\u003cp>https://youtu.be/XpICoc65uh0\u003c/p>\n\u003cp>Will that message resonate or remain oblique when you see Mother suffering toward sainthood? To answer that question, it’s worth comparing Lawrence’s role here with Isabelle Huppert’s in last year’s \u003cem>Elle\u003c/em>, in which her character endures several brutal sexual assaults. Are we watching the abuse of allegorical figure or another highly paid actresses being cowed by another male director? The destruction of the planet is an obvious cause for concern, but so too is another movie with violent imagery directed at women, beautifully photographed, once again written by a man.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘mother!’ opens Friday, Sept. 15 at the AMC Kabuki 8. For more information, \u003ca href=\"https://www.facebook.com/OfficialMotherMovie/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 786,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705029531,
"excerpt": "Darren Aronofsky's latest film focuses a subjective lens on Jennifer Lawrence, leaving something vital and real on the cutting room floor.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Darren Aronofsky's latest film focuses a subjective lens on Jennifer Lawrence, leaving something vital and real on the cutting room floor.",
"title": "‘mother!’ Invents a Bleak Mythology for Jennifer Lawrence | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘mother!’ Invents a Bleak Mythology for Jennifer Lawrence",
"datePublished": "2017-09-15T08:00:03-07:00",
"dateModified": "2024-01-11T19:18:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother",
"status": "publish",
"sticky": false,
"path": "/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The camera hovers behind Jennifer Lawrence’s shoulders throughout \u003cem>mother!\u003c/em> Unlike an omniscient drone, Darren Aronofsky’s lens is entirely subjective, seeing and understanding only what her character does. It’s not simply capturing her movements down a staircase or into a poorly lit basement, the director stays near to create the illusion — and, more crucially, the feeling — that he’s revealing her disturbed consciousness to those of us watching.\u003c/p>\n\u003cp>As Mother, Lawrence’s every emotion registers on screen in each successively distressing close-up. Because this is an Aronofsky movie, joy isn’t one of those emotions.\u003c/p>\n\u003cfigure id=\"attachment_13808521\" class=\"wp-caption alignright\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/poster.jpg\" alt=\"\" width=\"710\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-520x778.jpg 520w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">mother! (Courtesy of Paramount Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Self-sacrifice is a recurring theme in his work — from \u003cem>The Fountain\u003c/em> to \u003cem>The Wrestler\u003c/em> to \u003cem>Black Swan.\u003c/em> \u003cem>mother!\u003c/em> isn’t an exception to the rule. We need only look at a promotional poster released earlier this year: Lawrence holds her own bleeding heart out to us, torn from the open wound in the center of her still-seeping chest.\u003c/p>\n\u003cp>Katniss Everdeen, the avenging huntress she played in \u003cem>The Hunger Games\u003c/em>, has been erased. In her stead stands a sylph, a creature without guile, some ephemeral yet vulnerable spirit of nature.\u003c/p>\n\u003cp>Mother lives with Him (Javier Bardem) in an immense country house surrounded by nothing but trees. Bardem brings as much menace to this role as he did playing a remorseless killer in 2008’s \u003cem>No Country for Old Men\u003c/em>. Him is a celebrated poet with writer’s block and a mean streak of narcissism. If it’s not yet clear, Aronofsky doesn’t provide any given names in the film. The supporting cast is identified with Biblical or possibly tarot card referents, such as Fool, Damsel, Zealot, Cupbearer and Idler. Like the other characters, Him isn’t just an artist — he represents every man, especially those with the basest, cruelest instincts when it comes to the (mis)treatment of women.\u003c/p>\n\u003cfigure id=\"attachment_13808563\" class=\"wp-caption aligncenter\" style=\"max-width: 1393px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1393\" height=\"800\" class=\"size-full wp-image-13808563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg 1393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-768x441.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1180x678.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-960x551.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-520x299.jpg 520w\" sizes=\"(max-width: 1393px) 100vw, 1393px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Him and Mother’s brief idyll is disturbed by Man (Ed Harris) and Woman (Michelle Pfeiffer), who arrive at the house by accident, believing it to be a bed and breakfast. When Him offers to let them stay without consulting Mother, it’s the first troubling sign that her wishes — for privacy — will be ignored. What follows is a series of violations of her domestic need for order. She wants her nest to remain inviolable. Instead, the unwanted house guests are careless with her things, disputing her sense of ownership and breaking the unwritten laws that transform a home into a sanctuary.\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>Pfeiffer’s Woman is an immoral goddess of chaos and carnality. Her performance disturbs the atmosphere of this world even more than Bardem’s because nothing she does is predictable. We know he’s the personification of evil, but we don’t know if Woman’s giving Mother warnings or threats — or both. When Aronofsky leaves Pfeiffer behind for his overly-determined plot, he’s leaving something vital and real on the cutting room floor. We wish for Woman to be the key to the complex mystery of \u003ci>mother!\u003c/i> just to see what else Pfeiffer will do.\u003c/p>\n\u003cfigure id=\"attachment_13808562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13808562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mother, on the other hand, projects passivity and deference. She genuflects towards Him; in many scenes she employs a broom or a cloth to clean up after inconsiderate guests. Combined with the poster imagery, Aronofsky has invented his own mythology. Or, if you prefer, synthesized some old ones and applied them to the 21st century.\u003c/p>\n\u003cp>During a \u003ca href=\"http://video.vanityfair.com/watch/toronto-international-film-festival-fear-terror-and-vulnerability-with-jennifer-lawrence-2017-09-12?c=series\" target=\"_blank\" rel=\"noopener noreferrer\">recent interview\u003c/a> at the Toronto International Film Festival, Lawrence said that she wanted the audience to feel “empathy for our earth” after watching \u003ci>mother!\u003c/i> She and Aronofsky would like us to view the movie as an allegory, something along the lines of, “We’re destroying Mother Earth.”\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/XpICoc65uh0'\n title='//www.youtube.com/embed/XpICoc65uh0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Will that message resonate or remain oblique when you see Mother suffering toward sainthood? To answer that question, it’s worth comparing Lawrence’s role here with Isabelle Huppert’s in last year’s \u003cem>Elle\u003c/em>, in which her character endures several brutal sexual assaults. Are we watching the abuse of allegorical figure or another highly paid actresses being cowed by another male director? The destruction of the planet is an obvious cause for concern, but so too is another movie with violent imagery directed at women, beautifully photographed, once again written by a man.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘mother!’ opens Friday, Sept. 15 at the AMC Kabuki 8. For more information, \u003ca href=\"https://www.facebook.com/OfficialMotherMovie/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_2453",
"arts_596",
"arts_769"
],
"featImg": "arts_13808564",
"label": "arts"
},
"arts_13808178": {
"type": "posts",
"id": "arts_13808178",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808178",
"score": null,
"sort": [
1505314843000
]
},
"guestAuthors": [],
"slug": "counterpulses-combustible-residency-toys-with-technology",
"title": "CounterPulse's 'Combustible Residency' Toys with Technology",
"publishDate": 1505314843,
"format": "standard",
"headTitle": "CounterPulse’s ‘Combustible Residency’ Toys with Technology | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“Combustible Residency,” a new program at the San Francisco performance-art hub \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CounterPulse\u003c/a>, is designed to allow artists the time and resources to create their work using “state-of-the-art lighting and sound tools.” That sounds dry, though the results aren’t.\u003c/p>\n\u003cp>Clearly the two pieces on display in this inaugural presentation, Freya Olafson’s \u003cem>MÆ\u003c/em>\u003cem>—Motion Aftereffect\u003c/em> and Kinetech Arts’ startlingly beautiful \u003cem>MESH\u003c/em>, show deeper concerns about technology, the human body, and what has happened or is happening to our souls.\u003c/p>\n\u003cfigure id=\"attachment_13808189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-800x450.jpg\" alt=\"Freya Olafson attempts to keep up with some gyrating video girls in 'MÆ—Motion Aftereffect.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freya Olafson attempts to keep up with some gyrating video girls in ‘MÆ—Motion Aftereffect.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>MÆ\u003c/em>\u003cem>—Motion Aftereffect\u003c/em> is full of interesting ideas and a comic spirit, but it never takes off as art. At its best, it has the feel of a pleasant \u003cem>Saturday Night Live\u003c/em> skit: When Olafson, donning a pair of virtual reality goggles, screams “Oh my God” over and over again at an experience we can neither see, hear, nor access in any way, or tries to replicate the obscene gyrating of video game vixens, she keeps just missing in her mimicry.\u003c/p>\n\u003cp>You understand what she’s getting at — the alienating nature of the tech revolution and our hapless responses to it. But the piece is in many ways merely a demonstration, an idea tied to a mission statement.\u003c/p>\n\u003cp>On the other hand, Kinetech Arts’ \u003cem>Mesh\u003c/em> slips into disturbing and shocking territory that continually confounds our beliefs about technology and human agency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choreographer Daiane Lopes Da Silva’s work begins with a simple and direct image: a woman, covered in what feels like the afterglow of poor television reception, slowly twists and turns her way upstage until she disappears under the backstage curtain, a victim of some kind of electronic malfunction. Or were we just lacking the right antenna, a stronger internet connection, proper wiring that would have held her in place for us? It’s the first of many questions that begin with the distortion of a body.\u003c/p>\n\u003cfigure id=\"attachment_13808186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808186 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-800x450.jpg\" alt=\"Dancers Hien Huynh and Mariia Sotnikova run out of energy over and over again in 'Mesh' by Kinetech Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Hien Huynh and Mariia Sotnikova run out of energy over and over again in ‘Mesh’ by Kinetech Arts. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so when dancers Hien Huynh and Mariia Sotnikova burst onto the stage, moving with a wild precision and feral strength, you think okay, all right, the natural order of human dominance has returned. These people are fully present. Their bodies exemplify control, order, and power. But the feeling lasts for just a moment. In the world of \u003cem>Mesh, \u003c/em>human force is a finite resource, while technology mutates with the swiftness and potency of a virus.\u003c/p>\n\u003cp>By the time performer Juliet Paramor enters covered in sensors, her body projected on to the back wall in the form of a kind of anthropomorphic abstraction of a skeleton, the idea of the human has a precarious feel to it. It’s as if she’s being reformed into technology right before us. It’s a mesmerizing effect and you have to keep on reminding yourself that there’s a human being on stage generating these images, or that she even matters.\u003c/p>\n\u003cp>The most powerful aspect of \u003cem>Mesh\u003c/em> is the way we’re forced to understand that these transformations aren’t the product of a 21st century revolution, but are rather part of a long line of transformative technologies. Anchored to the back wall is a mesh mask that seems comically analogue compared to all the computers and sensors in use. And yet Kinetech deploys this little piece of crafts-shop arcana to impressive artistic and philosophical use.\u003c/p>\n\u003cfigure id=\"attachment_13808187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808187 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-800x458.jpg\" alt=\"\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-1920x1100.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Mariia Sotnikova and Hien Huynh confront the spectral image of Juliet Paramor in ‘Mesh’ by Kinetech Arts. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After one of the dancers slips into the mask, we’re confronted with a disarming conjunction of images: we get the computer-generated skeleton, the dancers’ actual bodies, and their shadows expanding across the stage — the result of no more than a hand-held light. As the computer visual fluctuates in size from a tiny image projected onto the dancers’ torsos to a giant intersection of converging lines and angles that envelops all the bodies on stage, the simple light does the same to the mesh mask. It too has the power to overcome human agency and freedom.\u003c/p>\n\u003cp>The whole effect is ridiculously beautiful and more than a bit terrifying. Here is art that takes an idea and harnesses it to a rigorous aesthetic practice. And because of that, you can’t stop thinking about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MÆ—Motion Aftereffect’ and ‘Mesh’ runs through Saturday, Sept. 16 at CounterPulse in San Francisco. For tickets and information \u003ca href=\"http://www.counterpulse.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "CounterPulse's latest encourages artists to use “state-of-the-art lighting and sound tools.” That sounds dry, though the results aren’t.",
"status": "publish",
"parent": 0,
"modified": 1726701230,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 819
},
"headData": {
"title": "CounterPulse's 'Combustible Residency' Toys with Technology | KQED",
"description": "CounterPulse's latest encourages artists to use “state-of-the-art lighting and sound tools.” That sounds dry, though the results aren’t.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "CounterPulse's 'Combustible Residency' Toys with Technology",
"datePublished": "2017-09-13T08:00:43-07:00",
"dateModified": "2024-09-18T16:13:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13808178/counterpulses-combustible-residency-toys-with-technology",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Combustible Residency,” a new program at the San Francisco performance-art hub \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CounterPulse\u003c/a>, is designed to allow artists the time and resources to create their work using “state-of-the-art lighting and sound tools.” That sounds dry, though the results aren’t.\u003c/p>\n\u003cp>Clearly the two pieces on display in this inaugural presentation, Freya Olafson’s \u003cem>MÆ\u003c/em>\u003cem>—Motion Aftereffect\u003c/em> and Kinetech Arts’ startlingly beautiful \u003cem>MESH\u003c/em>, show deeper concerns about technology, the human body, and what has happened or is happening to our souls.\u003c/p>\n\u003cfigure id=\"attachment_13808189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-800x450.jpg\" alt=\"Freya Olafson attempts to keep up with some gyrating video girls in 'MÆ—Motion Aftereffect.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/freya1-e1505199850724-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freya Olafson attempts to keep up with some gyrating video girls in ‘MÆ—Motion Aftereffect.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>MÆ\u003c/em>\u003cem>—Motion Aftereffect\u003c/em> is full of interesting ideas and a comic spirit, but it never takes off as art. At its best, it has the feel of a pleasant \u003cem>Saturday Night Live\u003c/em> skit: When Olafson, donning a pair of virtual reality goggles, screams “Oh my God” over and over again at an experience we can neither see, hear, nor access in any way, or tries to replicate the obscene gyrating of video game vixens, she keeps just missing in her mimicry.\u003c/p>\n\u003cp>You understand what she’s getting at — the alienating nature of the tech revolution and our hapless responses to it. But the piece is in many ways merely a demonstration, an idea tied to a mission statement.\u003c/p>\n\u003cp>On the other hand, Kinetech Arts’ \u003cem>Mesh\u003c/em> slips into disturbing and shocking territory that continually confounds our beliefs about technology and human agency.\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>Choreographer Daiane Lopes Da Silva’s work begins with a simple and direct image: a woman, covered in what feels like the afterglow of poor television reception, slowly twists and turns her way upstage until she disappears under the backstage curtain, a victim of some kind of electronic malfunction. Or were we just lacking the right antenna, a stronger internet connection, proper wiring that would have held her in place for us? It’s the first of many questions that begin with the distortion of a body.\u003c/p>\n\u003cfigure id=\"attachment_13808186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808186 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-800x450.jpg\" alt=\"Dancers Hien Huynh and Mariia Sotnikova run out of energy over and over again in 'Mesh' by Kinetech Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech3-e1505198647428-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Hien Huynh and Mariia Sotnikova run out of energy over and over again in ‘Mesh’ by Kinetech Arts. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so when dancers Hien Huynh and Mariia Sotnikova burst onto the stage, moving with a wild precision and feral strength, you think okay, all right, the natural order of human dominance has returned. These people are fully present. Their bodies exemplify control, order, and power. But the feeling lasts for just a moment. In the world of \u003cem>Mesh, \u003c/em>human force is a finite resource, while technology mutates with the swiftness and potency of a virus.\u003c/p>\n\u003cp>By the time performer Juliet Paramor enters covered in sensors, her body projected on to the back wall in the form of a kind of anthropomorphic abstraction of a skeleton, the idea of the human has a precarious feel to it. It’s as if she’s being reformed into technology right before us. It’s a mesmerizing effect and you have to keep on reminding yourself that there’s a human being on stage generating these images, or that she even matters.\u003c/p>\n\u003cp>The most powerful aspect of \u003cem>Mesh\u003c/em> is the way we’re forced to understand that these transformations aren’t the product of a 21st century revolution, but are rather part of a long line of transformative technologies. Anchored to the back wall is a mesh mask that seems comically analogue compared to all the computers and sensors in use. And yet Kinetech deploys this little piece of crafts-shop arcana to impressive artistic and philosophical use.\u003c/p>\n\u003cfigure id=\"attachment_13808187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808187 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-800x458.jpg\" alt=\"\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-1920x1100.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/kinetech2-e1505199000838-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Mariia Sotnikova and Hien Huynh confront the spectral image of Juliet Paramor in ‘Mesh’ by Kinetech Arts. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After one of the dancers slips into the mask, we’re confronted with a disarming conjunction of images: we get the computer-generated skeleton, the dancers’ actual bodies, and their shadows expanding across the stage — the result of no more than a hand-held light. As the computer visual fluctuates in size from a tiny image projected onto the dancers’ torsos to a giant intersection of converging lines and angles that envelops all the bodies on stage, the simple light does the same to the mesh mask. It too has the power to overcome human agency and freedom.\u003c/p>\n\u003cp>The whole effect is ridiculously beautiful and more than a bit terrifying. Here is art that takes an idea and harnesses it to a rigorous aesthetic practice. And because of that, you can’t stop thinking about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MÆ—Motion Aftereffect’ and ‘Mesh’ runs through Saturday, Sept. 16 at CounterPulse in San Francisco. For tickets and information \u003ca href=\"http://www.counterpulse.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808178/counterpulses-combustible-residency-toys-with-technology",
"authors": [
"8668"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1018",
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13808183",
"label": "arts"
},
"arts_13808173": {
"type": "posts",
"id": "arts_13808173",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808173",
"score": null,
"sort": [
1505228413000
]
},
"guestAuthors": [],
"slug": "hillary-clinton-is-done-but-not-going-away",
"title": "Hillary Clinton Is 'Done,' But Not Going Away",
"publishDate": 1505228413,
"format": "standard",
"headTitle": "Hillary Clinton Is ‘Done,’ But Not Going Away | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Hillary Clinton’s final campaign for office ended in a shocking defeat. But she isn’t going quietly into the night.\u003c/p>\n\u003cp>“I think the country’s at risk, and I’m trying to sound the alarm so more people will at least pay attention,” Clinton told NPR.\u003c/p>\n\u003cp>That said, her career as a candidate is over.\u003c/p>\n\u003cp>“I’m done. I’m not running for office,” Clinton said. But for those, including Democrats, who would like her to just go away? “Well, they’re going to be disappointed,” she said.\u003c/p>\n\u003cp>“I’m not going anywhere. I have the experience, I have the insight, I have the scars that I think give me not only the right, but the responsibility to speak out,” Clinton said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her new campaign memoir, \u003cem>What Happened, \u003c/em>and in interviews with \u003cem>Morning Edition\u003c/em>‘s Rachel Martin and NPR’s Tamara Keith, Clinton talks about her own failings, but she doesn’t hold back on calling out sexism in American politics and heaping criticism on President Trump.\u003c/p>\n\u003cp>“I think he’s being played,” Clinton said of Trump, suggesting that he’s given aid and comfort to Russia’s Vladimir Putin and North Korea’s Kim Jong Un. “I think he doesn’t even understand the kind of strategic overview of what’s happening in the world, and what we need to be doing to prepare, and so I’m gonna keep speaking out.”\u003c/p>\n\u003cp>Asked if she is able to turn on the news without thinking, “What would I do in this situation?” Clinton responded with a laugh.\u003c/p>\n\u003cp>“No, I do it every single time! Look, I was prepared to be president. I had prepared and worked at it, and I go a little bit batty when I hear him say, ‘Gee, this is a really hard job. Who knew health care was so complicated?’ I did. No, I always am responding and reacting. Sometimes I yell at the TV even.”\u003c/p>\n\u003cp>\u003cstrong>What Happened\u003c/strong>\u003c/p>\n\u003cp>But Trump is the one in the Oval Office, not Clinton, and she offers a series of explanations for what she did wrong, in the book and in her interviews with NPR.\u003c/p>\n\u003cp>“I take ultimate responsibility for the loss,” Clinton said. “I was the candidate. I was the person whose name was on the ballot. And I’ll never get over that.”\u003c/p>\n\u003cp>There was the private email server she used for official business while secretary of state, a cloud that hung over her campaign from start to finish.\u003c/p>\n\u003cp>“It was a dumb mistake. I think it was a dumber scandal, but it hurt,” she said.\u003c/p>\n\u003cp>She also describes an inability to connect with the anger coursing through the electorate.\u003c/p>\n\u003cp>“I understood there was anger and fear and people were really unhappy because of what had happened in the financial crash. I understood all of that,” Clinton said. “What I didn’t — and I say this in the book — I didn’t really do well is conveying how much I understood of that, conveying how I got the despair and the anger.”\u003c/p>\n\u003cp>Clinton had plans — so many plans — for combating the opioid crisis, for helping people in coal country, for creating jobs through infrastructure spending and more.\u003c/p>\n\u003cp>“I talked about it, but I didn’t really convey the emotional resonance,” she said.\u003c/p>\n\u003cp>While Trump was sending a signal to voters by talking about making America great again, bringing back coal jobs and building a wall, Clinton’s detailed plans didn’t break through.\u003c/p>\n\u003cp>“The amount of time and effort we spent not only devising the best infrastructure plan you could imagine but figuring out how it was gonna be paid for, nobody cared,” she said.\u003c/p>\n\u003cp>Meanwhile, she said, Trump tapped into something, even fed it.\u003c/p>\n\u003cp>His message was “discriminatory, it was bigoted, it was prejudiced,” Clinton said. “And yet it fed into part of the electorate that just wanted to have a primal scream. They didn’t like what was going on. They wanted something different. They weren’t interested in what you could actually do, because clearly Trump hasn’t done very much that he said he would do. But they really responded to his racial and ethnic and sexist appeals.”\u003c/p>\n\u003cp>And while Trump started his campaign with a memorable line, Make America Great Again, Clinton said her team was headed into the general election trying to develop a theme that fit.\u003c/p>\n\u003cp>“I had three different very smart groups work independently, and I asked them, ‘So what should be the theme of our general election?’ And they each, amazingly, came up with the same slogan: ‘Stronger Together.’ Because what they argued, and what I believed, was that America does better when we’re working together, when we’re helping each other, when we’re aiming toward a future of opportunity where we have broad-based economic growth that includes everybody, and where, yes, we stand up for human rights and civil rights,” Clinton said.\u003c/p>\n\u003cp>But, asked to choose her biggest regret, Clinton didn’t look inward.\u003c/p>\n\u003cp>“Losing is my biggest regret,” she said. “And losing to someone who was not qualified and did not have the experience or the temperament to be president of the United States. That is my biggest regret.”\u003c/p>\n\u003cfigure id=\"attachment_13808175\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg\" alt=\"Clinton says her biggest regret from the 2016 presidential election is losing.\" width=\"640\" height=\"426\" class=\"size-large wp-image-13808175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Clinton says her biggest regret from the 2016 presidential election is losing. \u003ccite>(Adrienne Grunwald for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clinton deflected the question of whether another Democrat could have beaten Trump, saying, “Well, I don’t think it’s useful to speculate, because I was the nominee.”\u003c/p>\n\u003cp>What if Joe Biden had been the nominee?\u003c/p>\n\u003cp>“Well, he wasn’t. And you know he ran in ’08, and he didn’t run in this this time — if he wants to run in the future, he can do that,” she said.\u003c/p>\n\u003cp>\u003cstrong>Comey, The Russians, Voter Suppression And Other External Forces\u003c/strong>\u003c/p>\n\u003cp>In an election decided by fewer than 100,000 votes in three states, Clinton argues any number of factors could have decided the election.\u003c/p>\n\u003cp>“I was on the path to winning, and I felt great about the three debates,” Clinton said when asked about issues of trust that dogged her campaign. “And then unfortunately the Comey letter, aided in great measure by the Russian WikiLeaks, raised all those doubts again.”\u003c/p>\n\u003cp>Less than two weeks before the election, then-FBI Director James Comey told Congress the Bureau would be revisiting its investigation into the handling of classified information in connection with Clinton. On Nov. 6, he said a newly discovered trove of emails did not change the FBI’s recommendation that Clinton not be charged. Nevertheless, Clinton has repeatedly placed blame on this sequence of events for undermining her candidacy at a crucial moment.\u003c/p>\n\u003cp>WikiLeaks’ release of thousands of emails allegedly tied to Clinton’s campaign chairman, John Podesta, is another frequent target of hers. The documents disclosed internal campaign deliberation about Clinton’s private email server and excerpts from her Wall Street speeches. The campaign linked the release to Russia.\u003c/p>\n\u003cp>In the states Clinton lost, she argues voter ID requirements and other changes in the law made it harder for people who supported her to vote.\u003c/p>\n\u003cp>“In Wisconsin, Michigan, Pennsylvania in particular, as well as North Carolina, there was a concerted effort to suppress the vote,” she said, recounting anecdotes about people whose identification didn’t qualify them to vote in Milwaukee.\u003c/p>\n\u003cp>As for Russian interference in the election, Clinton thinks that in addition to the investigation being led by special counsel Robert Mueller, there should be an independent commission, like the 9/11 Commission.\u003c/p>\n\u003cp>“And if we don’t come together as a country and with leadership from the White House and the Congress to combat it, to try to prevent it from happening again, we are really putting our democracy at risk,” Clinton said.\u003c/p>\n\u003cp>She has been following the twists and turns of the Russia investigations and devotes a chapter of her book\u003cstrong> \u003c/strong>to the topic.\u003c/p>\n\u003cp>“We’re only now finding out what we did try to warn people about starting last summer,” Clinton said. But back then those warnings were often dismissed as a campaign trying to distract from the damaging revelations from the WikiLeaks emails. “And I think because it was so surreal — how, what do you mean the Russians are influencing our election? Now we know. Not only were they, they did. And not only did they, they will continue to do so.”\u003c/p>\n\u003cp>\u003cstrong>Talking About Sexism And Misogyny\u003c/strong>\u003c/p>\n\u003cp>Clinton devotes a chapter of her book to being a woman in politics, and in conversations with NPR, she had a lot to say about it. Clinton said it is clear some share of the electorate “is just not ready” for a woman to be president. “They just cannot imagine it, and they are resistant to it. And I want in this book to make it very clear that what happened to me was not just about me,” Clinton said.\u003c/p>\n\u003cp>There were some voters who said they were open to a woman as president, just not \u003cem>that \u003c/em>woman, in reference to Clinton. But she doesn’t buy that a different female candidate would have had it any easier.\u003c/p>\n\u003cp>“Look, if you think it’s just about me, you don’t have to deal with it. … OK, I lost, you know? Have a nice time walking in the woods. But if you think it’s endemic as I believe it is, and that when a woman sticks her head up, she gets hit from both the right and the left by men who — primarily men — who do not want to accept the reality of a woman being a leader, an executive,” Clinton said.\u003c/p>\n\u003cp>Her reference to men on “both the right and the left” isn’t without purpose. In the book she has harsh words for supporters of Bernie Sanders, so-called Bernie Bros, who intimidated her supporters online to the point that they hid their feelings in private Facebook groups.\u003c/p>\n\u003cp>“I want people to understand sexism and misogyny are real,” Clinton said. “They’re real in business, they’re real in politics, and people have to start standing up against it. And we have to equip young women to be able to ward it off and speak out, and we have to encourage men, particularly young men, not to buy into it. And we have to recognize there are deep stereotypes.”\u003c/p>\n\u003cp>As to the claim from some Sanders supporters that Clinton ran with a sense of entitlement, she said, “I just totally reject that.” Clinton called the criticism “off base.”\u003c/p>\n\u003cp>Even after she clinched the nomination, she said, Sanders “just kept going, and he and his followers’ attacks on me kept getting more and more personal, despite him asking me not to attack him personally. And you know, I really regret that. But now he’s got a chance to prove that he’s something other than a spoiler. And that is to help other Democrats. And I don’t know if he will or not, but I’m hoping he will.”\u003c/p>\n\u003cp>\u003cstrong>Out Of The Woods\u003c/strong>\u003c/p>\n\u003cp>Immediately following her election loss, Clinton returned home to Chappaqua, N.Y., and spent a lot of time hiking in the woods nearby with her husband, the former president, and their dogs.\u003c/p>\n\u003cp>“It was part of a process after the election to come to terms with having lost, and my personal disappointment in letting millions of people down. Also my fears about what a Trump presidency might mean for our country and the world,” Clinton said, back in the woods for her interview with Keith. “So I had a lot to think about. And I think well when I’m walking. I sort of clear my mind.”\u003c/p>\n\u003cp>That first day in the woods, she ran into a woman walking with her baby and dog. Her Facebook post spawned a meme, “HRC in the wild,” and rapidly led to people looking for Clinton in the woods.\u003c/p>\n\u003cp>“One time we drove up here to go for a walk, and there were about a dozen people lying in wait, and I thought, ‘OK we’re gonna go somewhere more peaceful than that,’ ” Clinton said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As the interview wrapped up, Clinton was approached by two women and a yellow Labrador. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hillary+Clinton+Is+%27Done%2C%27+But+Not+Going+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "In interviews with NPR, Clinton discusses her life since the election she didn't expect to lose, why she lost, and offers scathing criticism of President Trump.",
"status": "publish",
"parent": 0,
"modified": 1726701610,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 56,
"wordCount": 2197
},
"headData": {
"title": "Hillary Clinton Is 'Done,' But Not Going Away | KQED",
"description": "In interviews with NPR, Clinton discusses her life since the election she didn't expect to lose, why she lost, and offers scathing criticism of President Trump.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hillary Clinton Is 'Done,' But Not Going Away",
"datePublished": "2017-09-12T08:00:13-07:00",
"dateModified": "2024-09-18T16:20:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Tamara Keith",
"nprImageAgency": "Adrienne Grunwald for NPR",
"nprStoryId": "549594249",
"nprApiLink": "http://api.npr.org/query?id=549594249&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2017/09/12/549594249/hillary-clinton-done-but-not-going-away?ft=nprml&f=549594249",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 12 Sep 2017 01:07:00 -0400",
"nprStoryDate": "Tue, 12 Sep 2017 00:01:00 -0400",
"nprLastModifiedDate": "Tue, 12 Sep 2017 01:07:51 -0400",
"path": "/arts/13808173/hillary-clinton-is-done-but-not-going-away",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hillary Clinton’s final campaign for office ended in a shocking defeat. But she isn’t going quietly into the night.\u003c/p>\n\u003cp>“I think the country’s at risk, and I’m trying to sound the alarm so more people will at least pay attention,” Clinton told NPR.\u003c/p>\n\u003cp>That said, her career as a candidate is over.\u003c/p>\n\u003cp>“I’m done. I’m not running for office,” Clinton said. But for those, including Democrats, who would like her to just go away? “Well, they’re going to be disappointed,” she said.\u003c/p>\n\u003cp>“I’m not going anywhere. I have the experience, I have the insight, I have the scars that I think give me not only the right, but the responsibility to speak out,” Clinton said.\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>In her new campaign memoir, \u003cem>What Happened, \u003c/em>and in interviews with \u003cem>Morning Edition\u003c/em>‘s Rachel Martin and NPR’s Tamara Keith, Clinton talks about her own failings, but she doesn’t hold back on calling out sexism in American politics and heaping criticism on President Trump.\u003c/p>\n\u003cp>“I think he’s being played,” Clinton said of Trump, suggesting that he’s given aid and comfort to Russia’s Vladimir Putin and North Korea’s Kim Jong Un. “I think he doesn’t even understand the kind of strategic overview of what’s happening in the world, and what we need to be doing to prepare, and so I’m gonna keep speaking out.”\u003c/p>\n\u003cp>Asked if she is able to turn on the news without thinking, “What would I do in this situation?” Clinton responded with a laugh.\u003c/p>\n\u003cp>“No, I do it every single time! Look, I was prepared to be president. I had prepared and worked at it, and I go a little bit batty when I hear him say, ‘Gee, this is a really hard job. Who knew health care was so complicated?’ I did. No, I always am responding and reacting. Sometimes I yell at the TV even.”\u003c/p>\n\u003cp>\u003cstrong>What Happened\u003c/strong>\u003c/p>\n\u003cp>But Trump is the one in the Oval Office, not Clinton, and she offers a series of explanations for what she did wrong, in the book and in her interviews with NPR.\u003c/p>\n\u003cp>“I take ultimate responsibility for the loss,” Clinton said. “I was the candidate. I was the person whose name was on the ballot. And I’ll never get over that.”\u003c/p>\n\u003cp>There was the private email server she used for official business while secretary of state, a cloud that hung over her campaign from start to finish.\u003c/p>\n\u003cp>“It was a dumb mistake. I think it was a dumber scandal, but it hurt,” she said.\u003c/p>\n\u003cp>She also describes an inability to connect with the anger coursing through the electorate.\u003c/p>\n\u003cp>“I understood there was anger and fear and people were really unhappy because of what had happened in the financial crash. I understood all of that,” Clinton said. “What I didn’t — and I say this in the book — I didn’t really do well is conveying how much I understood of that, conveying how I got the despair and the anger.”\u003c/p>\n\u003cp>Clinton had plans — so many plans — for combating the opioid crisis, for helping people in coal country, for creating jobs through infrastructure spending and more.\u003c/p>\n\u003cp>“I talked about it, but I didn’t really convey the emotional resonance,” she said.\u003c/p>\n\u003cp>While Trump was sending a signal to voters by talking about making America great again, bringing back coal jobs and building a wall, Clinton’s detailed plans didn’t break through.\u003c/p>\n\u003cp>“The amount of time and effort we spent not only devising the best infrastructure plan you could imagine but figuring out how it was gonna be paid for, nobody cared,” she said.\u003c/p>\n\u003cp>Meanwhile, she said, Trump tapped into something, even fed it.\u003c/p>\n\u003cp>His message was “discriminatory, it was bigoted, it was prejudiced,” Clinton said. “And yet it fed into part of the electorate that just wanted to have a primal scream. They didn’t like what was going on. They wanted something different. They weren’t interested in what you could actually do, because clearly Trump hasn’t done very much that he said he would do. But they really responded to his racial and ethnic and sexist appeals.”\u003c/p>\n\u003cp>And while Trump started his campaign with a memorable line, Make America Great Again, Clinton said her team was headed into the general election trying to develop a theme that fit.\u003c/p>\n\u003cp>“I had three different very smart groups work independently, and I asked them, ‘So what should be the theme of our general election?’ And they each, amazingly, came up with the same slogan: ‘Stronger Together.’ Because what they argued, and what I believed, was that America does better when we’re working together, when we’re helping each other, when we’re aiming toward a future of opportunity where we have broad-based economic growth that includes everybody, and where, yes, we stand up for human rights and civil rights,” Clinton said.\u003c/p>\n\u003cp>But, asked to choose her biggest regret, Clinton didn’t look inward.\u003c/p>\n\u003cp>“Losing is my biggest regret,” she said. “And losing to someone who was not qualified and did not have the experience or the temperament to be president of the United States. That is my biggest regret.”\u003c/p>\n\u003cfigure id=\"attachment_13808175\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg\" alt=\"Clinton says her biggest regret from the 2016 presidential election is losing.\" width=\"640\" height=\"426\" class=\"size-large wp-image-13808175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Clinton says her biggest regret from the 2016 presidential election is losing. \u003ccite>(Adrienne Grunwald for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clinton deflected the question of whether another Democrat could have beaten Trump, saying, “Well, I don’t think it’s useful to speculate, because I was the nominee.”\u003c/p>\n\u003cp>What if Joe Biden had been the nominee?\u003c/p>\n\u003cp>“Well, he wasn’t. And you know he ran in ’08, and he didn’t run in this this time — if he wants to run in the future, he can do that,” she said.\u003c/p>\n\u003cp>\u003cstrong>Comey, The Russians, Voter Suppression And Other External Forces\u003c/strong>\u003c/p>\n\u003cp>In an election decided by fewer than 100,000 votes in three states, Clinton argues any number of factors could have decided the election.\u003c/p>\n\u003cp>“I was on the path to winning, and I felt great about the three debates,” Clinton said when asked about issues of trust that dogged her campaign. “And then unfortunately the Comey letter, aided in great measure by the Russian WikiLeaks, raised all those doubts again.”\u003c/p>\n\u003cp>Less than two weeks before the election, then-FBI Director James Comey told Congress the Bureau would be revisiting its investigation into the handling of classified information in connection with Clinton. On Nov. 6, he said a newly discovered trove of emails did not change the FBI’s recommendation that Clinton not be charged. Nevertheless, Clinton has repeatedly placed blame on this sequence of events for undermining her candidacy at a crucial moment.\u003c/p>\n\u003cp>WikiLeaks’ release of thousands of emails allegedly tied to Clinton’s campaign chairman, John Podesta, is another frequent target of hers. The documents disclosed internal campaign deliberation about Clinton’s private email server and excerpts from her Wall Street speeches. The campaign linked the release to Russia.\u003c/p>\n\u003cp>In the states Clinton lost, she argues voter ID requirements and other changes in the law made it harder for people who supported her to vote.\u003c/p>\n\u003cp>“In Wisconsin, Michigan, Pennsylvania in particular, as well as North Carolina, there was a concerted effort to suppress the vote,” she said, recounting anecdotes about people whose identification didn’t qualify them to vote in Milwaukee.\u003c/p>\n\u003cp>As for Russian interference in the election, Clinton thinks that in addition to the investigation being led by special counsel Robert Mueller, there should be an independent commission, like the 9/11 Commission.\u003c/p>\n\u003cp>“And if we don’t come together as a country and with leadership from the White House and the Congress to combat it, to try to prevent it from happening again, we are really putting our democracy at risk,” Clinton said.\u003c/p>\n\u003cp>She has been following the twists and turns of the Russia investigations and devotes a chapter of her book\u003cstrong> \u003c/strong>to the topic.\u003c/p>\n\u003cp>“We’re only now finding out what we did try to warn people about starting last summer,” Clinton said. But back then those warnings were often dismissed as a campaign trying to distract from the damaging revelations from the WikiLeaks emails. “And I think because it was so surreal — how, what do you mean the Russians are influencing our election? Now we know. Not only were they, they did. And not only did they, they will continue to do so.”\u003c/p>\n\u003cp>\u003cstrong>Talking About Sexism And Misogyny\u003c/strong>\u003c/p>\n\u003cp>Clinton devotes a chapter of her book to being a woman in politics, and in conversations with NPR, she had a lot to say about it. Clinton said it is clear some share of the electorate “is just not ready” for a woman to be president. “They just cannot imagine it, and they are resistant to it. And I want in this book to make it very clear that what happened to me was not just about me,” Clinton said.\u003c/p>\n\u003cp>There were some voters who said they were open to a woman as president, just not \u003cem>that \u003c/em>woman, in reference to Clinton. But she doesn’t buy that a different female candidate would have had it any easier.\u003c/p>\n\u003cp>“Look, if you think it’s just about me, you don’t have to deal with it. … OK, I lost, you know? Have a nice time walking in the woods. But if you think it’s endemic as I believe it is, and that when a woman sticks her head up, she gets hit from both the right and the left by men who — primarily men — who do not want to accept the reality of a woman being a leader, an executive,” Clinton said.\u003c/p>\n\u003cp>Her reference to men on “both the right and the left” isn’t without purpose. In the book she has harsh words for supporters of Bernie Sanders, so-called Bernie Bros, who intimidated her supporters online to the point that they hid their feelings in private Facebook groups.\u003c/p>\n\u003cp>“I want people to understand sexism and misogyny are real,” Clinton said. “They’re real in business, they’re real in politics, and people have to start standing up against it. And we have to equip young women to be able to ward it off and speak out, and we have to encourage men, particularly young men, not to buy into it. And we have to recognize there are deep stereotypes.”\u003c/p>\n\u003cp>As to the claim from some Sanders supporters that Clinton ran with a sense of entitlement, she said, “I just totally reject that.” Clinton called the criticism “off base.”\u003c/p>\n\u003cp>Even after she clinched the nomination, she said, Sanders “just kept going, and he and his followers’ attacks on me kept getting more and more personal, despite him asking me not to attack him personally. And you know, I really regret that. But now he’s got a chance to prove that he’s something other than a spoiler. And that is to help other Democrats. And I don’t know if he will or not, but I’m hoping he will.”\u003c/p>\n\u003cp>\u003cstrong>Out Of The Woods\u003c/strong>\u003c/p>\n\u003cp>Immediately following her election loss, Clinton returned home to Chappaqua, N.Y., and spent a lot of time hiking in the woods nearby with her husband, the former president, and their dogs.\u003c/p>\n\u003cp>“It was part of a process after the election to come to terms with having lost, and my personal disappointment in letting millions of people down. Also my fears about what a Trump presidency might mean for our country and the world,” Clinton said, back in the woods for her interview with Keith. “So I had a lot to think about. And I think well when I’m walking. I sort of clear my mind.”\u003c/p>\n\u003cp>That first day in the woods, she ran into a woman walking with her baby and dog. Her Facebook post spawned a meme, “HRC in the wild,” and rapidly led to people looking for Clinton in the woods.\u003c/p>\n\u003cp>“One time we drove up here to go for a walk, and there were about a dozen people lying in wait, and I thought, ‘OK we’re gonna go somewhere more peaceful than that,’ ” Clinton said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the interview wrapped up, Clinton was approached by two women and a yellow Labrador. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hillary+Clinton+Is+%27Done%2C%27+But+Not+Going+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808173/hillary-clinton-is-done-but-not-going-away",
"authors": [
"byline_arts_13808173"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1118",
"arts_596",
"arts_5826",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13808174",
"label": "arts_137"
},
"arts_13807989": {
"type": "posts",
"id": "arts_13807989",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13807989",
"score": null,
"sort": [
1504969227000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1504969227,
"format": "standard",
"title": "In 'The Deuce,' Sex Isn't Titillating — It's Business",
"headTitle": "In ‘The Deuce,’ Sex Isn’t Titillating — It’s Business | KQED",
"content": "\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 911,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705029579,
"excerpt": "David Simon's gritty new drama follows pornography's transition from back-alley pursuit to billion-dollar industry. The sex scenes are transactional, but also explicit, with equal opportunity nudity.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "David Simon's gritty new drama follows pornography's transition from back-alley pursuit to billion-dollar industry. The sex scenes are transactional, but also explicit, with equal opportunity nudity.",
"title": "In 'The Deuce,' Sex Isn't Titillating — It's Business | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'The Deuce,' Sex Isn't Titillating — It's Business",
"datePublished": "2017-09-09T08:00:27-07:00",
"dateModified": "2024-01-11T19:19:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-the-deuce-sex-isnt-titillating-its-business",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=549474980&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Fri, 08 Sep 2017 17:13:00 -0400",
"nprLastModifiedDate": "Fri, 08 Sep 2017 17:55:47 -0400",
"nprHtmlLink": "http://www.npr.org/2017/09/08/549474980/in-the-deuce-sex-isn-t-titillating-it-s-business?ft=nprml&f=549474980",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/09/20170908_atc_in_the_deuce_sex_isnt_titillating_its_business.mp3?orgId=1&topicId=1138&d=270&p=2&story=549474980&t=progseg&e=549386870&seg=19&ft=nprml&f=549474980",
"nprImageAgency": "HBO",
"nprAudioM3u": "http://api.npr.org/m3u/1549550049-3b8304.m3u?orgId=1&topicId=1138&d=270&p=2&story=549474980&t=progseg&e=549386870&seg=19&ft=nprml&f=549474980",
"nprStoryId": "549474980",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Paul Schiraldi",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 08 Sep 2017 18:41:00 -0400",
"path": "/arts/13807989/in-the-deuce-sex-isnt-titillating-its-business",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/09/20170908_atc_in_the_deuce_sex_isnt_titillating_its_business.mp3?orgId=1&topicId=1138&d=270&p=2&story=549474980&t=progseg&e=549386870&seg=19&ft=nprml&f=549474980",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\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 Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13807989/in-the-deuce-sex-isnt-titillating-its-business",
"authors": [
"byline_arts_13807989"
],
"categories": [
"arts_990"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13807990",
"label": "arts_137"
},
"arts_13807547": {
"type": "posts",
"id": "arts_13807547",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13807547",
"score": null,
"sort": [
1504810832000
]
},
"guestAuthors": [],
"slug": "new-documentary-about-dolores-huerta-aims-to-set-the-record-straight",
"title": "New Doc About Dolores Huerta Aims to Set the Record Straight",
"publishDate": 1504810832,
"format": "standard",
"headTitle": "New Doc About Dolores Huerta Aims to Set the Record Straight | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“Well-behaved women rarely make history” goes the old quote, but the truth of the matter is that the contributions of powerful women are too often sidelined in favor of their male counterparts. A perfect example can be found in Dolores Huerta, founder of the first farmworkers’ union in America. You’ve most likely heard of her compatriot Cesar Chavez. You’ve probably heard the chant, “Sí, se puede!” which was actually coined by Huerta.\u003c/p>\n\u003cp>\u003ci>Dolores\u003c/i>, a new documentary by writer, producer and director Peter Bratt aims to set the record straight — while Huerta, now 87, can still tell her own story. The film’s tagline says it all: Rebel. Activist. Feminist. Mother. “We want to set the record straight, I mean, women cannot be written out of history,” says one of Huerta’s eleven children. That documentary doesn’t fall short of this goal. I was brought to tears by the end, realizing I’d too long understood Huerta to be a lesser sidekick, almost a secretary, to Chavez.\u003c/p>\n\u003cp>[contextly_sidebar id=”ELOU5Jqr84WG6t8vo45elWeyyODSsSjd”]\u003c/p>\n\u003cp>Chavez’ name can be seen on schools and streets across the United States. And on calendars: In 2014, President Obama declared March 31 Cesar Chavez Day. Huerta, on the other hand, hasn’t received the same recognition. In one infuriating example in the film, an Arizona legislator refers to her as “Cesar Chavez’ girlfriend,” which hits like a slap on the face once you understand the work she did and the sacrifices she made.\u003c/p>\n\u003cp>After all, Huerta was the co-founder of the United Farm Workers labor union. She negotiated \u003ca href=\"http://www.mercedsunstar.com/news/article66798422.html\" target=\"_blank\" rel=\"noopener noreferrer\">a labor contract\u003c/a> between the farmworkers and Schenley Industries wine-grape company, a historical first, and she was a core promoter of the \u003ca href=\"https://dp.la/primary-source-sets/sets/the-united-farm-workers-and-the-delano-grape-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">wildly successful national table grape boycott\u003c/a> of the late 1960s. After interviewing dozens of politicians, educators, labor historians, ten of Huerta’s eleven children, and Huerta herself, director Peter Bratt became convinced that Huerta was the victim of a “deliberate erasure from historical record.” In effect, this erasure is punishment for living an unconventional life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Unzr9kiFScQ\u003c/p>\n\u003cp>\u003ci>Dolores\u003c/i> traces that life from the very beginning. Huerta was raised by a single mother and businesswoman in Stockton, an agricultural community filled with Mexican, Filipino, African-American, Japanese, and Chinese working families. She came to political consciousness as a teenager after witnessing police brutality against the Mexican and black kids she grew up with. “Equality wasn’t there,” she tells one interviewer in a film jam-packed with powerful archival film footage and photographs.\u003c/p>\n\u003cp>By the time Huerta met Fred Ross, a community organizer and founder of the Stockton Community Service Organization (CSO), she was a young mother who had been twice married. At the age of 25, Huerta became the CSO’s political director and one of the few women, not to mention one of the few Chicanas, involved in developing policy for the California State Legislature.\u003c/p>\n\u003cfigure id=\"attachment_13807665\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Dolores1200.jpg\" alt=\"Dolores Huerta at the Delano Strike in 1966.\" width=\"1200\" height=\"821\" class=\"size-full wp-image-13807665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-1180x807.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-960x657.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-520x356.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta at the Delano Strike in 1966. \u003ccite>(Photo by Jon Lewis, courtesy of LeRoy Hatfield)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross introduced Huerta to Cesar Chavez, the executive director of the CSO, who was busy organizing farmworkers in Oxnard. Huerta was doing the same in Stockton. Realizing they had a mutual vision, the two resigned from the CSO and launched the National Farm Workers’ Association in 1962. \u003c/p>\n\u003cp>They began to organize in Delano, a tiny Central Valley farm town north of Bakersfield, where farmworkers told stories of harvesting in 115 degree-heat — without breaks or drinking water — for 90 cents an hour. Those who complained were shown the door, according to Eliseo Medina, a union leader who says in the film that he started working in the Delano fields at the age of 15. “The worst part was knowing that people held you in contempt,” adds Medina.\u003c/p>\n\u003cp>Undaunted by racist growers and criticism from those who thought the mother of seven children in the middle of a divorce should not be out in public life organizing farmworkers, Huerta launched with a whole-hearted ferocity into the work that would come to define her. She spent her days and weeks in the fields, working to galvanize scared and downtrodden farmworkers to stand up for their rights and demand a share of the wealth from growers. \u003c/p>\n\u003cfigure id=\"attachment_13807666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200.jpg\" alt=\"Dolores Huerta speaks at the podium, circa 1970s. \" width=\"1200\" height=\"675\" class=\"size-full wp-image-13807666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta speaks at the podium, circa 1970s. \u003ccite>(Courtesy of Walter P. Reuther Library Archives of Labor and Urban Affairs Wayne State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her children speak honestly throughout the film about the fact that their mother wasn’t around for most of their childhoods, lending a complexity to the story. “We soon recognized that my mother really didn’t belong to us,” says son Emilio Huerta.\u003c/p>\n\u003cp>But this was a time when many people — even mothers — were taking to the streets in support of the civil rights, anti-war, environmental, and feminist movements. Huerta — despite her conservative Catholic upbringing — would soon be transformed.\u003c/p>\n\u003cp>“If Huerta and Chavez felt it was possible to organize farmworkers, when no one believed that was possible, it was because many of us during that period were totally convinced we could change the world, that revolutionary change was possible,” says activist and teacher Angela Davis, also interviewed extensively.\u003c/p>\n\u003cp>Underlying the film is a popping soundtrack of jazz (Huerta is a fan of the genre), campesino songs, and tunes by James Brown and Carlos Santana, the film’s executive producer.\u003c/p>\n\u003cp>This galvanizing documentary powerfully conveys a complex and layered portrait of a woman who’s had an indelible impact on political and social movements in California and beyond. By the end of \u003ci>Dolores\u003c/i>, it’s impossible to justify why Huerta has been all but erased from history books. Let’s hope the film acts as a remedy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dolores’ opens at Berkeley’s Shattuck Cinemas and the Smith Rafael Film Center on Sept. 8, and Sebastopol’s Rialto Cinemas on Sept. 15.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Peter Bratt directs a revelatory documentary on labor leader and civil rights activist Dolores Huerta, countering her “deliberate erasure from historical record.”",
"status": "publish",
"parent": 0,
"modified": 1726782074,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1040
},
"headData": {
"title": "New Doc About Dolores Huerta Aims to Set the Record Straight | KQED",
"description": "Peter Bratt directs a revelatory documentary on labor leader and civil rights activist Dolores Huerta, countering her “deliberate erasure from historical record.”",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Doc About Dolores Huerta Aims to Set the Record Straight",
"datePublished": "2017-09-07T12:00:32-07:00",
"dateModified": "2024-09-19T14:41:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13807547/new-documentary-about-dolores-huerta-aims-to-set-the-record-straight",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Well-behaved women rarely make history” goes the old quote, but the truth of the matter is that the contributions of powerful women are too often sidelined in favor of their male counterparts. A perfect example can be found in Dolores Huerta, founder of the first farmworkers’ union in America. You’ve most likely heard of her compatriot Cesar Chavez. You’ve probably heard the chant, “Sí, se puede!” which was actually coined by Huerta.\u003c/p>\n\u003cp>\u003ci>Dolores\u003c/i>, a new documentary by writer, producer and director Peter Bratt aims to set the record straight — while Huerta, now 87, can still tell her own story. The film’s tagline says it all: Rebel. Activist. Feminist. Mother. “We want to set the record straight, I mean, women cannot be written out of history,” says one of Huerta’s eleven children. That documentary doesn’t fall short of this goal. I was brought to tears by the end, realizing I’d too long understood Huerta to be a lesser sidekick, almost a secretary, to Chavez.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chavez’ name can be seen on schools and streets across the United States. And on calendars: In 2014, President Obama declared March 31 Cesar Chavez Day. Huerta, on the other hand, hasn’t received the same recognition. In one infuriating example in the film, an Arizona legislator refers to her as “Cesar Chavez’ girlfriend,” which hits like a slap on the face once you understand the work she did and the sacrifices she made.\u003c/p>\n\u003cp>After all, Huerta was the co-founder of the United Farm Workers labor union. She negotiated \u003ca href=\"http://www.mercedsunstar.com/news/article66798422.html\" target=\"_blank\" rel=\"noopener noreferrer\">a labor contract\u003c/a> between the farmworkers and Schenley Industries wine-grape company, a historical first, and she was a core promoter of the \u003ca href=\"https://dp.la/primary-source-sets/sets/the-united-farm-workers-and-the-delano-grape-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">wildly successful national table grape boycott\u003c/a> of the late 1960s. After interviewing dozens of politicians, educators, labor historians, ten of Huerta’s eleven children, and Huerta herself, director Peter Bratt became convinced that Huerta was the victim of a “deliberate erasure from historical record.” In effect, this erasure is punishment for living an unconventional life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Unzr9kiFScQ'\n title='//www.youtube.com/embed/Unzr9kiFScQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Dolores\u003c/i> traces that life from the very beginning. Huerta was raised by a single mother and businesswoman in Stockton, an agricultural community filled with Mexican, Filipino, African-American, Japanese, and Chinese working families. She came to political consciousness as a teenager after witnessing police brutality against the Mexican and black kids she grew up with. “Equality wasn’t there,” she tells one interviewer in a film jam-packed with powerful archival film footage and photographs.\u003c/p>\n\u003cp>By the time Huerta met Fred Ross, a community organizer and founder of the Stockton Community Service Organization (CSO), she was a young mother who had been twice married. At the age of 25, Huerta became the CSO’s political director and one of the few women, not to mention one of the few Chicanas, involved in developing policy for the California State Legislature.\u003c/p>\n\u003cfigure id=\"attachment_13807665\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Dolores1200.jpg\" alt=\"Dolores Huerta at the Delano Strike in 1966.\" width=\"1200\" height=\"821\" class=\"size-full wp-image-13807665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-1180x807.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-960x657.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Dolores1200-520x356.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta at the Delano Strike in 1966. \u003ccite>(Photo by Jon Lewis, courtesy of LeRoy Hatfield)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross introduced Huerta to Cesar Chavez, the executive director of the CSO, who was busy organizing farmworkers in Oxnard. Huerta was doing the same in Stockton. Realizing they had a mutual vision, the two resigned from the CSO and launched the National Farm Workers’ Association in 1962. \u003c/p>\n\u003cp>They began to organize in Delano, a tiny Central Valley farm town north of Bakersfield, where farmworkers told stories of harvesting in 115 degree-heat — without breaks or drinking water — for 90 cents an hour. Those who complained were shown the door, according to Eliseo Medina, a union leader who says in the film that he started working in the Delano fields at the age of 15. “The worst part was knowing that people held you in contempt,” adds Medina.\u003c/p>\n\u003cp>Undaunted by racist growers and criticism from those who thought the mother of seven children in the middle of a divorce should not be out in public life organizing farmworkers, Huerta launched with a whole-hearted ferocity into the work that would come to define her. She spent her days and weeks in the fields, working to galvanize scared and downtrodden farmworkers to stand up for their rights and demand a share of the wealth from growers. \u003c/p>\n\u003cfigure id=\"attachment_13807666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200.jpg\" alt=\"Dolores Huerta speaks at the podium, circa 1970s. \" width=\"1200\" height=\"675\" class=\"size-full wp-image-13807666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DoloresSpeaks1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta speaks at the podium, circa 1970s. \u003ccite>(Courtesy of Walter P. Reuther Library Archives of Labor and Urban Affairs Wayne State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her children speak honestly throughout the film about the fact that their mother wasn’t around for most of their childhoods, lending a complexity to the story. “We soon recognized that my mother really didn’t belong to us,” says son Emilio Huerta.\u003c/p>\n\u003cp>But this was a time when many people — even mothers — were taking to the streets in support of the civil rights, anti-war, environmental, and feminist movements. Huerta — despite her conservative Catholic upbringing — would soon be transformed.\u003c/p>\n\u003cp>“If Huerta and Chavez felt it was possible to organize farmworkers, when no one believed that was possible, it was because many of us during that period were totally convinced we could change the world, that revolutionary change was possible,” says activist and teacher Angela Davis, also interviewed extensively.\u003c/p>\n\u003cp>Underlying the film is a popping soundtrack of jazz (Huerta is a fan of the genre), campesino songs, and tunes by James Brown and Carlos Santana, the film’s executive producer.\u003c/p>\n\u003cp>This galvanizing documentary powerfully conveys a complex and layered portrait of a woman who’s had an indelible impact on political and social movements in California and beyond. By the end of \u003ci>Dolores\u003c/i>, it’s impossible to justify why Huerta has been all but erased from history books. Let’s hope the film acts as a remedy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dolores’ opens at Berkeley’s Shattuck Cinemas and the Smith Rafael Film Center on Sept. 8, and Sebastopol’s Rialto Cinemas on Sept. 15.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13807547/new-documentary-about-dolores-huerta-aims-to-set-the-record-straight",
"authors": [
"3224"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3419",
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13807637",
"label": "arts"
},
"arts_13806766": {
"type": "posts",
"id": "arts_13806766",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13806766",
"score": null,
"sort": [
1504656058000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1504656058,
"format": "standard",
"title": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness",
"headTitle": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness | KQED",
"content": "\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 977,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705029614,
"excerpt": "Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.",
"title": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness",
"datePublished": "2017-09-05T17:00:58-07:00",
"dateModified": "2024-01-11T19:20:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "premieres-from-sf-playhouse-and-ubuntu-jolt-our-sense-of-goodness",
"status": "publish",
"sticky": false,
"path": "/arts/13806766/premieres-from-sf-playhouse-and-ubuntu-jolt-our-sense-of-goodness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\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 way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13806766/premieres-from-sf-playhouse-and-ubuntu-jolt-our-sense-of-goodness",
"authors": [
"8668"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_977",
"arts_596",
"arts_769",
"arts_2295"
],
"featImg": "arts_13806770",
"label": "arts"
},
"arts_13807461": {
"type": "posts",
"id": "arts_13807461",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13807461",
"score": null,
"sort": [
1504648846000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1504648846,
"format": "image",
"title": "Hiero Day 2017: Music Highlights and Photo Gallery",
"headTitle": "Hiero Day 2017: Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>On the tail end of the \u003ca href=\"http://www.mercurynews.com/2017/09/01/bay-area-weather-scorching-temperatures-will-produce-hottest-days-in-a-decade/\" target=\"_blank\" rel=\"noopener\">great Bay Area heatwave of 2017\u003c/a>, a diverse crowd of hip-hop fans spent Labor Day hanging out between artist warehouses and towering Burning Man sculptures at 18th and Poplar Streets in West Oakland. In previous years, Hiero Day was held in the street and felt more like a block party — but for its sixth iteration, Hiero Day provided a full-on festival experience, though with a more grassroots, underground feel than Outside Lands or Treasure Island. \u003c/p>\n\u003cp>Along with members of the long-running East Bay hip-hop collective Hieroglyphics, who \u003ca href=\"https://www.amoeba.com/blog/2012/09/jamoeblog/hiero-day-shows-love-for-oakland-by-keeping-it-in-the-town-.html\" target=\"_blank\" rel=\"noopener\">founded Hiero Day in 2012\u003c/a> and headline each year, Bay Area artists like Mistah F.A.B. and IAMSU could be spotted roaming through the audience. Rare out-of-town veterans like Bun B and Yo-Yo were a treat to see onstage. And though the festival ran slightly off-schedule, the mood was upbeat and mellow, with the new spacious festival layout giving fans room to get up close and personal with their favorite artists. \u003c/p>\n\u003cp>Check our recap of the five most outstanding acts at this year’s Hiero Day, and scroll down to see our photo slideshow below. \u003c/p>\n\u003cfigure id=\"attachment_13807485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg\" alt=\"Rayana Jay performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rayana Jay\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay’s\u003c/a> rise over the past year has been a fast, wild ride, and the singer herself at times seemed surprised by how enthusiastically her audience sang along to tracks from her breakout mixtape, \u003cem>Sorry About Last Night\u003c/em>. Jay premiered her new track, “Sunkissed,” a smooth, groovy track from her upcoming EP \u003cem>Morning After\u003c/em> that celebrates black beauty. She prefaced the song with acknowledgement of the recent resurgence of white supremacists: “I wrote this song to say ‘If nobody else got y’all, I got y’all,’” said Jay to her fans of color. The ’70-hued track had her guitarist JHawk channeling Santana while Jay’s velvety voice soared. When she performed “Magic,” a funky, disco-inflected love song, Jay’s elementary-school-aged cousin came on stage and showed off her adorable dance moves. Jay closed out her set with two surprises: Guest performances from Mistah F.A.B. (who paid homage to Mac Dre with “Still Feelin’ It”) and Sick Wid It Records’ \u003ca href=\"https://ww2.kqed.org/arts/2017/08/01/talking-with-omb-peezy-the-bay-areas-missing-link-to-southern-rap/\" target=\"_blank\" rel=\"noopener\">latest signee, OMB Peezy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg\" alt=\"Bun B performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bun B performs at Hiero Day 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bun B\u003c/h2>\n\u003cp>Dirty South legend Bun B was a necessary, grounding presence at Hiero Day. Though most of his set was upbeat, the Houston rapper took the time to hold a moment of silence for victims of Hurricane Harvey and other lost loved ones — including his longtime partner in UGK, Pimp C. Even as \u003ca href=\"http://www.rollingstone.com/music/news/bun-b-on-hurricane-harvey-its-worse-than-everyone-thought-w500099\" target=\"_blank\" rel=\"noopener\">his hometown remained underwater\u003c/a>, Bun B’s set offered a semblance of hope amidst continuing reports of the storm’s devastating effects. (Bun B is hosting a \u003ca href=\"http://handinhand2017.com/\" target=\"_blank\" rel=\"noopener\">telethon\u003c/a> to benefit hurricane victims on Sept. 12 at 8pm EST.) And on a technical level, he was impressive, rapping in his smooth baritone sans backing-vocal track and absolutely nailing every song. He paid homage to the South’s custom car culture with the candy-paint Cadillac anthem “Draped Up.” The audience rapped along to his defining verse on UGK’s “International Player’s Anthem,” and he also performed his features on Jay Z’s “Big Pimpin” and Three 6 Mafia’s “Sippin’ on Some Syrup.” \u003c/p>\n\u003cfigure id=\"attachment_13807490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg\" alt=\"Goapele performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Goapele\u003c/h2>\n\u003cp>Goapele looked like a vision of summer in her cutoff shorts and billowing kimono, and murmurs of admiration for her voice, hair, and outfit could be heard throughout the crowd. “I’m standing up here as a mom, an artist, as someone who cares about the future. A daughter of immigrants, an activist,” she said before performing “Stand,” the protest song she wrote in response to Oscar Grant’s murder at the hands of police. She mostly played tracks from her recent EP, \u003cem>Dreamseeker\u003c/em>, but the audience rejoiced when they heard the opening chords to “Closer to My Dreams,” a gorgeous, uplifting track about realizing your destiny. Oakland singer Adrian Marcel came out to fill in for BJ the Chicago Kid’s feature on “Stay,” and stuck around to perform one of his own tracks. But the emotional highpoint of Goapele’s set came when she sang part of Sam Cooke’s civil rights anthem “A Change is Gonna Come” a capella, sending chills up everyone’s spines. \u003c/p>\n\u003cfigure id=\"attachment_13807491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg\" alt=\"Lil B performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lil B\u003c/h2>\n\u003cp>Lil B’s set was the most climactic point of Hiero Day; as soon as the bass line of “Bitch Mob” came on, the energy in the crowd multiplied a dozen-fold. IAMSU and Rexx Life Raj climbed onto the stage, dreads swinging, while Mistah F.A.B., a godfather of hyphy, proudly looked on. Lil B also brought out Koran Streets, Kool John, and other peers in the rap scene, and everyone danced together gleefully, like one big family. Onstage and in the crowd, mosh pits erupted as Lil B performed “Like a Martian,” and throughout his set, he offered affirmations and goofy quips. “Yeah, I got fat and Donald Trump’s the president,” he said as he took off his shirt while performing “I Own Swag.” He then exemplified the message of peace and positivity he preaches online in the most beautiful way: He brought out his guitar and keyboard, and gave them away to two lucky young fans, encouraging them to learn to make music too. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/HieroImperium/status/904924158269652992\u003c/p>\n\u003ch2>Hieroglyphics\u003c/h2>\n\u003cp>Press about Hiero Day rarely goes into detail about Hieroglyphics, because they’re the headliners every year — but the legendary Oakland crew’s set was a reminder of why they’re the best at what they do. It’s pretty remarkable that the nine-person collective continues to collaborate after a decade-plus of working together, and their camaraderie was palpable on stage. The bandmates hyped each other during each other’s verses and all seven MCs got their due in the festival’s short closing time slot. Hiero classics like “You Never Knew” and Souls of Mischief’s “’93 Til Infinity” transported the audience to Hieroglyphics’ ’90s heyday and served a reminder of the fact that the crew helped pioneer the freewheeling, individualistic Bay Area hip-hop culture celebrated onstage throughout Hiero Day. Opio, one of the Souls of Mischief MCs, closed the show by inviting the audience to hold up peace signs in defiance of the recent white nationalist rallies in the Bay Area, calling for the community to stand together in a gesture of unity as the sun went down.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"large\" ids=\"13807493,13807489,13807492,13807488,13807490,13807487,13807491,13807486,13807485,13807410,13807484,13807409,13807408,13807403,13807407,13807404,13807405,13807406,13807402,13807401,13807400,13807399,13807398,13807397,13807396,13807395\" orderby=\"rand\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1219,
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705029616,
"excerpt": "In a new, spacious location, this year's Hiero Day brought out new local talent and out-of-town hip-hop veterans alike.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In a new, spacious location, this year's Hiero Day brought out new local talent and out-of-town hip-hop veterans alike.",
"title": "Hiero Day 2017: Music Highlights and Photo Gallery | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hiero Day 2017: Music Highlights and Photo Gallery",
"datePublished": "2017-09-05T15:00:46-07:00",
"dateModified": "2024-01-11T19:20:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hiero-day-2017-music-highlights-and-photo-gallery",
"status": "publish",
"sticky": false,
"path": "/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the tail end of the \u003ca href=\"http://www.mercurynews.com/2017/09/01/bay-area-weather-scorching-temperatures-will-produce-hottest-days-in-a-decade/\" target=\"_blank\" rel=\"noopener\">great Bay Area heatwave of 2017\u003c/a>, a diverse crowd of hip-hop fans spent Labor Day hanging out between artist warehouses and towering Burning Man sculptures at 18th and Poplar Streets in West Oakland. In previous years, Hiero Day was held in the street and felt more like a block party — but for its sixth iteration, Hiero Day provided a full-on festival experience, though with a more grassroots, underground feel than Outside Lands or Treasure Island. \u003c/p>\n\u003cp>Along with members of the long-running East Bay hip-hop collective Hieroglyphics, who \u003ca href=\"https://www.amoeba.com/blog/2012/09/jamoeblog/hiero-day-shows-love-for-oakland-by-keeping-it-in-the-town-.html\" target=\"_blank\" rel=\"noopener\">founded Hiero Day in 2012\u003c/a> and headline each year, Bay Area artists like Mistah F.A.B. and IAMSU could be spotted roaming through the audience. Rare out-of-town veterans like Bun B and Yo-Yo were a treat to see onstage. And though the festival ran slightly off-schedule, the mood was upbeat and mellow, with the new spacious festival layout giving fans room to get up close and personal with their favorite artists. \u003c/p>\n\u003cp>Check our recap of the five most outstanding acts at this year’s Hiero Day, and scroll down to see our photo slideshow below. \u003c/p>\n\u003cfigure id=\"attachment_13807485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg\" alt=\"Rayana Jay performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rayana Jay\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay’s\u003c/a> rise over the past year has been a fast, wild ride, and the singer herself at times seemed surprised by how enthusiastically her audience sang along to tracks from her breakout mixtape, \u003cem>Sorry About Last Night\u003c/em>. Jay premiered her new track, “Sunkissed,” a smooth, groovy track from her upcoming EP \u003cem>Morning After\u003c/em> that celebrates black beauty. She prefaced the song with acknowledgement of the recent resurgence of white supremacists: “I wrote this song to say ‘If nobody else got y’all, I got y’all,’” said Jay to her fans of color. The ’70-hued track had her guitarist JHawk channeling Santana while Jay’s velvety voice soared. When she performed “Magic,” a funky, disco-inflected love song, Jay’s elementary-school-aged cousin came on stage and showed off her adorable dance moves. Jay closed out her set with two surprises: Guest performances from Mistah F.A.B. (who paid homage to Mac Dre with “Still Feelin’ It”) and Sick Wid It Records’ \u003ca href=\"https://ww2.kqed.org/arts/2017/08/01/talking-with-omb-peezy-the-bay-areas-missing-link-to-southern-rap/\" target=\"_blank\" rel=\"noopener\">latest signee, OMB Peezy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg\" alt=\"Bun B performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bun B performs at Hiero Day 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bun B\u003c/h2>\n\u003cp>Dirty South legend Bun B was a necessary, grounding presence at Hiero Day. Though most of his set was upbeat, the Houston rapper took the time to hold a moment of silence for victims of Hurricane Harvey and other lost loved ones — including his longtime partner in UGK, Pimp C. Even as \u003ca href=\"http://www.rollingstone.com/music/news/bun-b-on-hurricane-harvey-its-worse-than-everyone-thought-w500099\" target=\"_blank\" rel=\"noopener\">his hometown remained underwater\u003c/a>, Bun B’s set offered a semblance of hope amidst continuing reports of the storm’s devastating effects. (Bun B is hosting a \u003ca href=\"http://handinhand2017.com/\" target=\"_blank\" rel=\"noopener\">telethon\u003c/a> to benefit hurricane victims on Sept. 12 at 8pm EST.) And on a technical level, he was impressive, rapping in his smooth baritone sans backing-vocal track and absolutely nailing every song. He paid homage to the South’s custom car culture with the candy-paint Cadillac anthem “Draped Up.” The audience rapped along to his defining verse on UGK’s “International Player’s Anthem,” and he also performed his features on Jay Z’s “Big Pimpin” and Three 6 Mafia’s “Sippin’ on Some Syrup.” \u003c/p>\n\u003cfigure id=\"attachment_13807490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg\" alt=\"Goapele performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Goapele\u003c/h2>\n\u003cp>Goapele looked like a vision of summer in her cutoff shorts and billowing kimono, and murmurs of admiration for her voice, hair, and outfit could be heard throughout the crowd. “I’m standing up here as a mom, an artist, as someone who cares about the future. A daughter of immigrants, an activist,” she said before performing “Stand,” the protest song she wrote in response to Oscar Grant’s murder at the hands of police. She mostly played tracks from her recent EP, \u003cem>Dreamseeker\u003c/em>, but the audience rejoiced when they heard the opening chords to “Closer to My Dreams,” a gorgeous, uplifting track about realizing your destiny. Oakland singer Adrian Marcel came out to fill in for BJ the Chicago Kid’s feature on “Stay,” and stuck around to perform one of his own tracks. But the emotional highpoint of Goapele’s set came when she sang part of Sam Cooke’s civil rights anthem “A Change is Gonna Come” a capella, sending chills up everyone’s spines. \u003c/p>\n\u003cfigure id=\"attachment_13807491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg\" alt=\"Lil B performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lil B\u003c/h2>\n\u003cp>Lil B’s set was the most climactic point of Hiero Day; as soon as the bass line of “Bitch Mob” came on, the energy in the crowd multiplied a dozen-fold. IAMSU and Rexx Life Raj climbed onto the stage, dreads swinging, while Mistah F.A.B., a godfather of hyphy, proudly looked on. Lil B also brought out Koran Streets, Kool John, and other peers in the rap scene, and everyone danced together gleefully, like one big family. Onstage and in the crowd, mosh pits erupted as Lil B performed “Like a Martian,” and throughout his set, he offered affirmations and goofy quips. “Yeah, I got fat and Donald Trump’s the president,” he said as he took off his shirt while performing “I Own Swag.” He then exemplified the message of peace and positivity he preaches online in the most beautiful way: He brought out his guitar and keyboard, and gave them away to two lucky young fans, encouraging them to learn to make music too. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "904924158269652992"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch2>Hieroglyphics\u003c/h2>\n\u003cp>Press about Hiero Day rarely goes into detail about Hieroglyphics, because they’re the headliners every year — but the legendary Oakland crew’s set was a reminder of why they’re the best at what they do. It’s pretty remarkable that the nine-person collective continues to collaborate after a decade-plus of working together, and their camaraderie was palpable on stage. The bandmates hyped each other during each other’s verses and all seven MCs got their due in the festival’s short closing time slot. Hiero classics like “You Never Knew” and Souls of Mischief’s “’93 Til Infinity” transported the audience to Hieroglyphics’ ’90s heyday and served a reminder of the fact that the crew helped pioneer the freewheeling, individualistic Bay Area hip-hop culture celebrated onstage throughout Hiero Day. Opio, one of the Souls of Mischief MCs, closed the show by inviting the audience to hold up peace signs in defiance of the recent white nationalist rallies in the Bay Area, calling for the community to stand together in a gesture of unity as the sun went down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "slideshow",
"size": "large",
"ids": "13807493,13807489,13807492,13807488,13807490,13807487,13807491,13807486,13807485,13807410,13807484,13807409,13807408,13807403,13807407,13807404,13807405,13807406,13807402,13807401,13807400,13807399,13807398,13807397,13807396,13807395",
"orderby": "rand",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery",
"authors": [
"11387"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_1828",
"arts_1088",
"arts_2284",
"arts_596",
"arts_1723",
"arts_769"
],
"featImg": "arts_13807500",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=review": {
"isFetching": false,
"latestQuery": {
"from": 960,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_13809454",
"arts_13809270",
"arts_13809040",
"arts_13808739",
"arts_13808888",
"arts_13808519",
"arts_13808178",
"arts_13808173",
"arts_13807989",
"arts_13807547",
"arts_13806766",
"arts_13807461"
],
"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_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_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_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_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_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_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_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_3649": {
"type": "terms",
"id": "arts_3649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "galleries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "galleries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3661,
"slug": "galleries",
"isLoading": false,
"link": "/arts/tag/galleries"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_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_2347": {
"type": "terms",
"id": "arts_2347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "broadway",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "broadway Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2359,
"slug": "broadway",
"isLoading": false,
"link": "/arts/tag/broadway"
},
"arts_2366": {
"type": "terms",
"id": "arts_2366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "orpheum theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "orpheum theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2378,
"slug": "orpheum-theatre",
"isLoading": false,
"link": "/arts/tag/orpheum-theatre"
},
"arts_2453": {
"type": "terms",
"id": "arts_2453",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2453",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jennifer lawrence",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jennifer lawrence Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2465,
"slug": "jennifer-lawrence",
"isLoading": false,
"link": "/arts/tag/jennifer-lawrence"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_1018": {
"type": "terms",
"id": "arts_1018",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1018",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Counterpulse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Counterpulse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1035,
"slug": "counterpulse",
"isLoading": false,
"link": "/arts/tag/counterpulse"
},
"arts_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"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_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_3419": {
"type": "terms",
"id": "arts_3419",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3419",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chicano",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chicano Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3431,
"slug": "chicano",
"isLoading": false,
"link": "/arts/tag/chicano"
},
"arts_2295": {
"type": "terms",
"id": "arts_2295",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2295",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sf playhouse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sf playhouse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2307,
"slug": "sf-playhouse",
"isLoading": false,
"link": "/arts/tag/sf-playhouse"
},
"arts_1828": {
"type": "terms",
"id": "arts_1828",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1828",
"found": true
},
"relationships": {},
"featImg": null,
"name": "goapele",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "goapele Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1840,
"slug": "goapele",
"isLoading": false,
"link": "/arts/tag/goapele"
},
"arts_1088": {
"type": "terms",
"id": "arts_1088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1088",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hiero Day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hiero Day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1105,
"slug": "hiero-day",
"isLoading": false,
"link": "/arts/tag/hiero-day"
},
"arts_2284": {
"type": "terms",
"id": "arts_2284",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2284",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hieroglyphics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hieroglyphics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2296,
"slug": "hieroglyphics",
"isLoading": false,
"link": "/arts/tag/hieroglyphics"
},
"arts_1723": {
"type": "terms",
"id": "arts_1723",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1723",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rayana jay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rayana jay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1735,
"slug": "rayana-jay",
"isLoading": false,
"link": "/arts/tag/rayana-jay"
}
},
"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": {}
}
}
}