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_12864701": {
"type": "attachments",
"id": "arts_12864701",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12864701",
"found": true
},
"parent": 12864700,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf.jpg",
"width": 900,
"height": 506
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488903603,
"modified": 1488903775,
"caption": "Nate Smith's debut solo album is 'Kinfolk: Postcards From Everywhere'.",
"description": " 'Nate Smith's debut solo album is 'Kinfolk: Postcards From Everywhere'.",
"title": "Nate Smith's debut solo album is Kinfolk: Postcards From Everywhere.",
"credit": "Photo: Laura Hanifin/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12857732": {
"type": "attachments",
"id": "arts_12857732",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12857732",
"found": true
},
"parent": 12857731,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-e1488783054139.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488781170,
"modified": 1488783091,
"caption": "Even adamantium rusts: Hugh Jackman stars in 'Logan.'",
"description": "Even adamantium rusts: Hugh Jackman stars in 'Logan.'",
"title": "Even adamantium rusts: Hugh Jackman stars in 'Logan.'",
"credit": "Ben Rothstein/20th Century Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12843509": {
"type": "attachments",
"id": "arts_12843509",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12843509",
"found": true
},
"parent": 12843508,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/The_Last_Word_wide-bdec3c324bbef7021a8c2eacff1e8b7ccac4163f-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488527089,
"modified": 1488527250,
"caption": "L to R: Amanda Seyfried, Shirley MacLaine, AnnJewel Lee Dixon in 'The Last Word.'\n",
"description": "Ok it'd be awesome if that car behind them exploded right now (spoiler: it won't). L to R: Amanda Seyfried, Shirley MacLaine, AnnJewel Lee Dixon in \u003cem>The Last Word\u003c/em>.",
"title": "Ok it'd be awesome if that car behind them exploded right now (spoiler: it won't). L to R: Amanda Seyfried, Shirley MacLaine, AnnJewel Lee Dixon in The Last Word.",
"credit": "Beth Dubber/Bleeker Street",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12804795": {
"type": "attachments",
"id": "arts_12804795",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12804795",
"found": true
},
"parent": 12804600,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Cohen_Hendrix_1968_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487816937,
"modified": 1491010120,
"caption": "Ira Cohen, 'Jimi Hendrix,' 1968.",
"description": "Ira Cohen, 'Jimi Hendrix,' 1968.",
"title": "Ira Cohen, 'Jimi Hendrix,' 1968.",
"credit": "Photo courtesy Ira Cohen Archive, LLC",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12805405": {
"type": "attachments",
"id": "arts_12805405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12805405",
"found": true
},
"parent": 12799891,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-520x244.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 244
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-160x75.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 75
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-375x176.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 176
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300.jpg",
"width": 639,
"height": 300
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/abandon-me-639x300-240x113.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 113
}
},
"publishDate": 1487829448,
"modified": 1487829448,
"caption": null,
"description": null,
"title": "abandon-me-639x300",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12806190": {
"type": "attachments",
"id": "arts_12806190",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12806190",
"found": true
},
"parent": 12805796,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-520x293.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-960x576.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-960x640.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-375x212.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 212
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600.jpeg",
"width": 957,
"height": 540
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-800x451.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-768x433.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Salesman8-e1487841938600-240x135.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487841757,
"modified": 1487845067,
"caption": "Willy (Julian López-Morillas) tries to gain his bearings in the Ubuntu Theater Project's 'Death of a Salesman' by Arthur Miller.",
"description": "Willy (López-Morillas) tries to gain his bearings in the Ubuntu Theater Project's 'Death of a Salesman' by Arthur Miller.",
"title": "Salesman8",
"credit": "Photo: Colin Blattel",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12810479": {
"type": "attachments",
"id": "arts_12810479",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12810479",
"found": true
},
"parent": 12810478,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Get_Out_wide-3ad4d6196f38be8b52bc21c62df5477621670373-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487922087,
"modified": 1487922415,
"caption": "Guess who's coming to dinner and never leaving: Chris (Daniel Kaluuya) and Rose (Allison Williams) in 'Get Out.'",
"description": "Guess who's coming to dinner and never leaving: Chris (Daniel Kaluuya) and Rose (Allison Williams) in 'Get Out.'",
"title": "Guess Who's Coming To Dinner And Never Leaving: Chris (Daniel Kaluuya) and Rose (Allison Williams) in Get Out.",
"credit": "Justin Lubin/Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12801070": {
"type": "attachments",
"id": "arts_12801070",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12801070",
"found": true
},
"parent": 12794413,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-520x295.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 295
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-682x576.jpg",
"width": 682,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-160x91.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 91
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-375x213.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 213
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595.jpg",
"width": 680,
"height": 386
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Dawson1-e1487749487595-240x136.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 136
}
},
"publishDate": 1487749323,
"modified": 1487749529,
"caption": "Gregory Dawson brought some of his amazing choreography to the 'Black Choreographer's Festival' at Dance Mission.",
"description": "Gregory Dawson brought some of his amazing choreography to the 'Black Choreographer's Festival' at Dance Mission.",
"title": "Dawson1",
"credit": "Photo: Devi Pride",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12799030": {
"type": "attachments",
"id": "arts_12799030",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12799030",
"found": true
},
"parent": 12777426,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/YBCA_INfinityEngineFishCOVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487714509,
"modified": 1487714560,
"caption": "Lynn Hershman Leeson, 'The Infinity Engine,' 2014–17. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017. ",
"description": "Lynn Hershman Leeson, 'The Infinity Engine,' 2014–17. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017. ",
"title": "YBCA_INfinityEngineFishCOVER",
"credit": "Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12794218": {
"type": "attachments",
"id": "arts_12794218",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12794218",
"found": true
},
"parent": 12794217,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487623973,
"modified": 1487624228,
"caption": "Kristina Lewis, 'Double Heavy, Full of Holes,' 2017. Ultracal 30, fiberglass, pigment, polymer varnish.",
"description": "Kristina Lewis, 'Double Heavy, Full of Holes,' 2017. Ultracal 30, fiberglass, pigment, polymer varnish.",
"title": "Double_HeavyCOVER",
"credit": "Courtesy of the artist and Sweeney Kaye",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12777429": {
"type": "attachments",
"id": "arts_12777429",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12777429",
"found": true
},
"parent": 12777428,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-e1487297206253.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/The_Great_Wall_wide-6784daabe5dd5ec48e736b38337ee802eb3126ce-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487297122,
"modified": 1487297291,
"caption": "\"...For the night is dark and filled with lizard-people\": Pero (Pedro Pascal) and William (Matt Damon) in 'The Great Wall.'",
"description": "\"...For the night is dark and filled with lizard-people\": Pero (Pedro Pascal) and William (Matt Damon) in 'The Great Wall.'",
"title": "\"... For The Night Is Dark And Filled With Lizard-People\": Pero (Pedro Pascal) and William (Matt Damon) in The Great Wall.",
"credit": "Jasin Boland / Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12742368": {
"type": "attachments",
"id": "arts_12742368",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12742368",
"found": true
},
"parent": 12742356,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146.jpg",
"width": 2048,
"height": 1150
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Kristians1-e1486630757146-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1486630630,
"modified": 1487047090,
"caption": "Pastor Paul (Anthony Fusco) preaches to his flock that they must make a radical change in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.",
"description": "Pastor Paul (Anthony Fusco) preaches to his flock that they must make a radical change in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.",
"title": "Kristians1",
"credit": "Photo: Jessica Palopoli",
"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_12864700": {
"type": "authors",
"id": "byline_arts_12864700",
"meta": {
"override": true
},
"slug": "byline_arts_12864700",
"name": "Tom Moon",
"isLoading": false
},
"byline_arts_12857731": {
"type": "authors",
"id": "byline_arts_12857731",
"meta": {
"override": true
},
"slug": "byline_arts_12857731",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_12843508": {
"type": "authors",
"id": "byline_arts_12843508",
"meta": {
"override": true
},
"slug": "byline_arts_12843508",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_12810478": {
"type": "authors",
"id": "byline_arts_12810478",
"meta": {
"override": true
},
"slug": "byline_arts_12810478",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_12777426": {
"type": "authors",
"id": "byline_arts_12777426",
"meta": {
"override": true
},
"slug": "byline_arts_12777426",
"name": "Michelle Threadgould",
"isLoading": false
},
"byline_arts_12777428": {
"type": "authors",
"id": "byline_arts_12777428",
"meta": {
"override": true
},
"slug": "byline_arts_12777428",
"name": "Mark Jenkins",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"irojascontreras": {
"type": "authors",
"id": "78",
"meta": {
"index": "authors_1716337520",
"id": "78",
"found": true
},
"name": "Ingrid Rojas Contreras",
"firstName": "Ingrid",
"lastName": "Rojas Contreras",
"slug": "irojascontreras",
"email": "ingrid.rojas.c@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Ingrid Rojas Contreras lives in San Francisco with her books. Her debut novel\u003cem> Fruit of the Drunken Tree \u003c/em>is forthcoming from Doubleday (Summer 2018). Find more at \u003ca href=\"http://www.ingridrojascontreras.com\">www.ingridrojascontreras.com\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/908d94de9342e71b9d5ceaa8152a16a0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Ingrid Rojas Contreras | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/908d94de9342e71b9d5ceaa8152a16a0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/908d94de9342e71b9d5ceaa8152a16a0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/irojascontreras"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307813
},
"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": 91
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 91
}
},
{
"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_12864700": {
"type": "posts",
"id": "arts_12864700",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12864700",
"score": null,
"sort": [
1488903788000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1488903788,
"format": "standard",
"title": "Nate Smith's 'Kinfolk': A Study in Nomadic Jazz",
"headTitle": "Nate Smith’s ‘Kinfolk’: A Study in Nomadic Jazz | KQED",
"content": "\u003cp>Over the last 15 years, drummer and composer Nate Smith has built the quintessential jazz resume: He’s been in bands led by jazz legends, such as bassist \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a>, and toured with some of the music’s rising stars, like saxophonist \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\" target=\"_blank\" rel=\"noopener\">Chris Potter\u003c/a>.\u003c/p>\n\u003cp>Jazz musicians often lead nomadic lives; they go where the gigs are. A growing contingent of younger players are musical nomads, too: They’re reworking the beats they grew up with — hip-hop, rock, R&B — into settings for jazz creativity. Smith, 42, is among them. He comes from jazz — he’s happy when he can get sparks flying — but, like many of his peers, he’s searching beyond jazz history.\u003c/p>\n\u003cp>His first solo album, \u003cem>Kinfolk: Postcards From Everywhere,\u003c/em> emphasizes catchy, singable melodies and spring-loaded backbeats. Smith often starts with a conventional pattern, then disrupts it by adding an extra hiccup of a beat. Just that slight modification gives the groove a serious jolt.\u003c/p>\n\u003cp>Throughout the record, Smith tells multiple travel stories. Some reflect his experiences touring; he’s soaked up breezy, wonderfully open grooves from all over the place. Some are more personal: His parents are heard in short interludes, recalling his family’s moves from the South to the North and back. Many songs express a deep wistfulness and the traveler’s longing for home.\u003c/p>\n\u003cp>When Smith and vocalist \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> listened back to the tune “Pages” in the studio, the drummer says he was seized with an unusual worry — that the track was too pretty, not cerebral enough. He got over that pretty quickly, when he realized that the journey of the project mirrored his own journey: He started out in jazz and wound up with the kind of sweeping travel diary only a nomad could make. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4DAZtVO3Xho\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nate+Smith%27s+%27Kinfolk%27%3A+A+Study+In+Nomadic+Jazz&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 331,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705031329,
"excerpt": "The drummer and Virginia native's first solo project, \u003cem>Kinfolk: Postcards From Everywhere\u003c/em>, introduces a restless musical spirit.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The drummer and Virginia native's first solo project, Kinfolk: Postcards From Everywhere, introduces a restless musical spirit.",
"title": "Nate Smith's 'Kinfolk': A Study in Nomadic Jazz | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nate Smith's 'Kinfolk': A Study in Nomadic Jazz",
"datePublished": "2017-03-07T08:23:08-08:00",
"dateModified": "2024-01-11T19:48:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nate-smiths-kinfolk-a-study-in-nomadic-jazz",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=518834878&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 06 Mar 2017 16:32:32 -0500",
"nprLastModifiedDate": "Mon, 06 Mar 2017 16:32:32 -0500",
"nprHtmlLink": "http://www.npr.org/2017/03/06/518834878/nate-smiths-kinfolk-a-study-in-nomadic-jazz?ft=nprml&f=518834878",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170306_atc_nate_smiths_kinfolk_a_study_in_nomadic_jazz.mp3?orgId=1&topicId=1104&d=232&p=2&story=518834878&t=progseg&e=518750642&seg=8&ft=nprml&f=518834878",
"nprImageAgency": "Courtesy of the artist",
"nprAudioM3u": "http://api.npr.org/m3u/1518858390-f72909.m3u?orgId=1&topicId=1104&d=232&p=2&story=518834878&t=progseg&e=518750642&seg=8&ft=nprml&f=518834878",
"nprStoryId": "518834878",
"nprByline": "Tom Moon",
"sticky": false,
"nprImageCredit": "Laura Hanifin",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 06 Mar 2017 17:01:00 -0500",
"path": "/arts/12864700/nate-smiths-kinfolk-a-study-in-nomadic-jazz",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170306_atc_nate_smiths_kinfolk_a_study_in_nomadic_jazz.mp3?orgId=1&topicId=1104&d=232&p=2&story=518834878&t=progseg&e=518750642&seg=8&ft=nprml&f=518834878",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last 15 years, drummer and composer Nate Smith has built the quintessential jazz resume: He’s been in bands led by jazz legends, such as bassist \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a>, and toured with some of the music’s rising stars, like saxophonist \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\" target=\"_blank\" rel=\"noopener\">Chris Potter\u003c/a>.\u003c/p>\n\u003cp>Jazz musicians often lead nomadic lives; they go where the gigs are. A growing contingent of younger players are musical nomads, too: They’re reworking the beats they grew up with — hip-hop, rock, R&B — into settings for jazz creativity. Smith, 42, is among them. He comes from jazz — he’s happy when he can get sparks flying — but, like many of his peers, he’s searching beyond jazz history.\u003c/p>\n\u003cp>His first solo album, \u003cem>Kinfolk: Postcards From Everywhere,\u003c/em> emphasizes catchy, singable melodies and spring-loaded backbeats. Smith often starts with a conventional pattern, then disrupts it by adding an extra hiccup of a beat. Just that slight modification gives the groove a serious jolt.\u003c/p>\n\u003cp>Throughout the record, Smith tells multiple travel stories. Some reflect his experiences touring; he’s soaked up breezy, wonderfully open grooves from all over the place. Some are more personal: His parents are heard in short interludes, recalling his family’s moves from the South to the North and back. Many songs express a deep wistfulness and the traveler’s longing for home.\u003c/p>\n\u003cp>When Smith and vocalist \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> listened back to the tune “Pages” in the studio, the drummer says he was seized with an unusual worry — that the track was too pretty, not cerebral enough. He got over that pretty quickly, when he realized that the journey of the project mirrored his own journey: He started out in jazz and wound up with the kind of sweeping travel diary only a nomad could make. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/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/4DAZtVO3Xho'\n title='//www.youtube.com/embed/4DAZtVO3Xho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nate+Smith%27s+%27Kinfolk%27%3A+A+Study+In+Nomadic+Jazz&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12864700/nate-smiths-kinfolk-a-study-in-nomadic-jazz",
"authors": [
"byline_arts_12864700"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12864701",
"label": "arts_137"
},
"arts_12857731": {
"type": "posts",
"id": "arts_12857731",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12857731",
"score": null,
"sort": [
1488841221000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1488841221,
"format": "standard",
"title": "'Logan' Is The Best At What It Does — And What It Does Is Gritty",
"headTitle": "‘Logan’ Is The Best At What It Does — And What It Does Is Gritty | KQED",
"content": "\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\u003c/p>\n\u003cp>https://youtu.be/RH3OxVFvTeg\u003c/p>\n\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1237,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705031337,
"excerpt": "This small-scale, sun-blasted tale of an aging Wolverine's efforts to protect a young mutant \"plays like the 'King Lear' of the X-saga.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This small-scale, sun-blasted tale of an aging Wolverine's efforts to protect a young mutant "plays like the 'King Lear' of the X-saga."",
"title": "'Logan' Is The Best At What It Does — And What It Does Is Gritty | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Logan' Is The Best At What It Does — And What It Does Is Gritty",
"datePublished": "2017-03-06T15:00:21-08:00",
"dateModified": "2024-01-11T19:48:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=517009491&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 02 Mar 2017 17:00:13 -0500",
"nprLastModifiedDate": "Thu, 02 Mar 2017 17:00:13 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/03/02/517009491/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty?ft=nprml&f=517009491",
"nprImageAgency": "20th Century Fox",
"nprImageCredit": "Ben Rothstein",
"nprStoryId": "517009491",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Mar 2017 17:00:00 -0500",
"path": "/arts/12857731/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\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/RH3OxVFvTeg'\n title='//www.youtube.com/embed/RH3OxVFvTeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\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>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12857731/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty",
"authors": [
"byline_arts_12857731"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12857732",
"label": "arts_137"
},
"arts_12843508": {
"type": "posts",
"id": "arts_12843508",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12843508",
"score": null,
"sort": [
1488556819000
]
},
"guestAuthors": [],
"slug": "shirley-maclaine-gets-the-last-word-and-youll-want-it-to-be",
"title": "Shirley MacLaine Gets 'The Last Word' — And You'll Want It To Be",
"publishDate": 1488556819,
"format": "standard",
"headTitle": "Shirley MacLaine Gets ‘The Last Word’ — And You’ll Want It To Be | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Actors are the most visible links the movies possess to their own past, because while actors age, the image of them that we carry with us does not. When you look at Shirley MacLaine today, you can see the young widow giggling over a corpse in Alfred Hitchcock’s \u003cem>The Trouble With Harry\u003c/em>, the melancholy mistress in \u003cem>The Apartment\u003c/em> whose radiant smile masks the fact that she’s given up on love and life, and the heartbreaking single mother forced to watch her daughter die in \u003cem>Terms of Endearment\u003c/em>. You can see all of these women at once, if you like, and then you can reflect on MacLaine’s astonishing stature in the Hollywood canon, that infamous ego elevating her whole life to another plane of performance, or her long-held New Age beliefs that she has lived many lives before her current one, nailing the trick of a full existence each time.\u003c/p>\n\u003cp>MacLaine has earned the right to coast by in otherwise unremarkable films that kiss the ground she walks on. It’s the familiar Hollywood old-timer move, pulled off in recent years by the likes of Jane Fonda (\u003cem>Peace, Love, & Misunderstanding\u003c/em>) and Jerry Lewis (\u003cem>Max Rose\u003c/em>).\u003cem> \u003c/em>But it’s rare to see such hero-worshipping star vehicles as unsubtle about their intentions as \u003cem>The Last Word\u003c/em>, in which a mean businesswoman tries to pad her own obituary with good deeds so everyone will fondly remember her after she has passed. Director Mark Pellington’s treacly Sundance dramedy is about a woman shoring up her own legacy, but it’s so empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine’s own memory.\u003c/p>\n\u003cp>MacLaine plays Harriet, a retired ad executive who lives alone in her mansion, bossing around the hired help until a near-death scare compels her to reexamine her life. She recruits Anne, the local newspaper’s obituary writer (Amanda Seyfried), to help her embellish her time on this mortal plane, an absurd breach of journalistic objectivity that’s nevertheless one of the easier things to swallow about Stuart Ross Fink’s insipid script. (“Let me get this straight,” characters say, before repeating the film’s oh-so-quirky premise back to us.)\u003c/p>\n\u003cp>Obituary writers secretly have the most thoughtful, heartfelt jobs in the newsroom. The excellent documentary \u003cem>Obit\u003c/em>, due to arrive in theaters at the end of April, details how these reporters try to capture the best version of their subjects’ lives with less than a day’s notice, employing sweeping yet modest prose while extracting meaningful quotes from emotionally drained friends and family. The brief flashes of wit that do exist in \u003cem>The Last Word\u003c/em> come when it tries to puncture this mythos; commenting on the empty platitudes accompanying a recently deceased acquaintance, Harriet snaps, “She was dead, and they were being polite.” Here we’re meant to see this woman as not only a control freak but also someone who can cut to the core of people, who “tells it like it is,” even (especially) if she has to dance on a grave to do it.\u003c/p>\n\u003cp>Harriet then gives a wildly cynical breakdown of what she sees as the “four essential components of any good obituary,” a checklist for a well-examined life — family, work, community service and “wild card” — that we assume the film is setting us up to transcend. Except it doesn’t. That cynicism becomes the roadmap to Harriet’s own earnest deification: she drags Anne to the local at-risk youth center to deliver a speech that confuses “at-risk” with “taking risks,” then picks out her favorite poor child to mentor, as if shopping at a supermarket. The movie makes a joke about this, and then proceeds to let her do it anyway, selecting a tough black girl (newcomer AnnJewel Lee Dixon) who talks like a middle-aged white man’s idea of a tough black girl, and having her follow the hero everywhere like a potty-mouthed puppy. Minority prop: Check.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rediscovering a love of music, Harriet next dusts off her record collection and wheels it into the local alt-rock radio station, leveraging her bluster and complete lack of DJ experience into a morning drivetime slot. Wild card: check. The current DJ loses her job to this end-of-life crisis case who offers to do it for free, yet later applauds Harriet’s first session, hooting, “Much respect.” There are times like this when the film wants us to find Harriet’s actions life-affirming and cute instead of what they are, which is cruel and selfish. In a reunion with her estranged daughter (Anne Heche, bringing her always-wonderful comic timing), Harriet can’t help but laugh hysterically when she hears how successful she’s become. In her mind this confirms she was a good mother, and thus no longer needs to feel guilt for decades of broken-off contact. This is a special kind of narcissist’s logic that only sounds like redemption to someone who’s never had to truly redeem themselves.\u003c/p>\n\u003cp>MacLaine clearly relishes being worshipped by young folks, and eats up the screen in her DJ chair, delivering withering looks at all of her co-stars. But she never gives her character a sense that any human connections she’s making are intentional. Seyfried’s job, then, is to express on her own face everything that MacLaine does not: to mug and mug, and mug some more, until we accept she’s found her new mother figure. (Anne’s own mother, of course, walked out on her when she was young, presumably bound for the Island of Conveniently Absent Parents.) To jump from Harriet’s gynecologist remarking she has “the angriest vagina this side of China” to an end-of-life revisionist history stating that, actually, the woman wasn’t all bad would take a special emotional leap — or, maybe, just a scene where three cross-generational misfits jump into a lake together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>How odd it is to see an actor who defines Hollywood royalty entrust her legacy to a movie that doesn’t even know how to pad an obituary correctly. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shirley+MacLaine+Gets+%27The+Last+Word%27+%E2%80%94+And+You%27ll+Want+It+To+Be+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A bitter retiree hopes a few good deeds will salvage her reputation in this insipid dramedy. MacLaine is Hollywood royalty, but this film is strictly peasant fare.",
"status": "publish",
"parent": 0,
"modified": 1726705244,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 1112
},
"headData": {
"title": "Shirley MacLaine Gets 'The Last Word' — And You'll Want It To Be | KQED",
"description": "A bitter retiree hopes a few good deeds will salvage her reputation in this insipid dramedy. MacLaine is Hollywood royalty, but this film is strictly peasant fare.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shirley MacLaine Gets 'The Last Word' — And You'll Want It To Be",
"datePublished": "2017-03-03T08:00:19-08:00",
"dateModified": "2024-09-18T17:20:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Beth Dubber",
"nprByline": "Andrew Lapin",
"nprImageAgency": "Bleeker Street",
"nprStoryId": "517011554",
"nprApiLink": "http://api.npr.org/query?id=517011554&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2017/03/02/517011554/shirley-maclaine-gets-the-last-word-and-youll-want-it-to-be?ft=nprml&f=517011554",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Mar 2017 17:00:00 -0500",
"nprStoryDate": "Thu, 02 Mar 2017 17:00:14 -0500",
"nprLastModifiedDate": "Thu, 02 Mar 2017 17:00:14 -0500",
"path": "/arts/12843508/shirley-maclaine-gets-the-last-word-and-youll-want-it-to-be",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actors are the most visible links the movies possess to their own past, because while actors age, the image of them that we carry with us does not. When you look at Shirley MacLaine today, you can see the young widow giggling over a corpse in Alfred Hitchcock’s \u003cem>The Trouble With Harry\u003c/em>, the melancholy mistress in \u003cem>The Apartment\u003c/em> whose radiant smile masks the fact that she’s given up on love and life, and the heartbreaking single mother forced to watch her daughter die in \u003cem>Terms of Endearment\u003c/em>. You can see all of these women at once, if you like, and then you can reflect on MacLaine’s astonishing stature in the Hollywood canon, that infamous ego elevating her whole life to another plane of performance, or her long-held New Age beliefs that she has lived many lives before her current one, nailing the trick of a full existence each time.\u003c/p>\n\u003cp>MacLaine has earned the right to coast by in otherwise unremarkable films that kiss the ground she walks on. It’s the familiar Hollywood old-timer move, pulled off in recent years by the likes of Jane Fonda (\u003cem>Peace, Love, & Misunderstanding\u003c/em>) and Jerry Lewis (\u003cem>Max Rose\u003c/em>).\u003cem> \u003c/em>But it’s rare to see such hero-worshipping star vehicles as unsubtle about their intentions as \u003cem>The Last Word\u003c/em>, in which a mean businesswoman tries to pad her own obituary with good deeds so everyone will fondly remember her after she has passed. Director Mark Pellington’s treacly Sundance dramedy is about a woman shoring up her own legacy, but it’s so empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine’s own memory.\u003c/p>\n\u003cp>MacLaine plays Harriet, a retired ad executive who lives alone in her mansion, bossing around the hired help until a near-death scare compels her to reexamine her life. She recruits Anne, the local newspaper’s obituary writer (Amanda Seyfried), to help her embellish her time on this mortal plane, an absurd breach of journalistic objectivity that’s nevertheless one of the easier things to swallow about Stuart Ross Fink’s insipid script. (“Let me get this straight,” characters say, before repeating the film’s oh-so-quirky premise back to us.)\u003c/p>\n\u003cp>Obituary writers secretly have the most thoughtful, heartfelt jobs in the newsroom. The excellent documentary \u003cem>Obit\u003c/em>, due to arrive in theaters at the end of April, details how these reporters try to capture the best version of their subjects’ lives with less than a day’s notice, employing sweeping yet modest prose while extracting meaningful quotes from emotionally drained friends and family. The brief flashes of wit that do exist in \u003cem>The Last Word\u003c/em> come when it tries to puncture this mythos; commenting on the empty platitudes accompanying a recently deceased acquaintance, Harriet snaps, “She was dead, and they were being polite.” Here we’re meant to see this woman as not only a control freak but also someone who can cut to the core of people, who “tells it like it is,” even (especially) if she has to dance on a grave to do it.\u003c/p>\n\u003cp>Harriet then gives a wildly cynical breakdown of what she sees as the “four essential components of any good obituary,” a checklist for a well-examined life — family, work, community service and “wild card” — that we assume the film is setting us up to transcend. Except it doesn’t. That cynicism becomes the roadmap to Harriet’s own earnest deification: she drags Anne to the local at-risk youth center to deliver a speech that confuses “at-risk” with “taking risks,” then picks out her favorite poor child to mentor, as if shopping at a supermarket. The movie makes a joke about this, and then proceeds to let her do it anyway, selecting a tough black girl (newcomer AnnJewel Lee Dixon) who talks like a middle-aged white man’s idea of a tough black girl, and having her follow the hero everywhere like a potty-mouthed puppy. Minority prop: Check.\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>Rediscovering a love of music, Harriet next dusts off her record collection and wheels it into the local alt-rock radio station, leveraging her bluster and complete lack of DJ experience into a morning drivetime slot. Wild card: check. The current DJ loses her job to this end-of-life crisis case who offers to do it for free, yet later applauds Harriet’s first session, hooting, “Much respect.” There are times like this when the film wants us to find Harriet’s actions life-affirming and cute instead of what they are, which is cruel and selfish. In a reunion with her estranged daughter (Anne Heche, bringing her always-wonderful comic timing), Harriet can’t help but laugh hysterically when she hears how successful she’s become. In her mind this confirms she was a good mother, and thus no longer needs to feel guilt for decades of broken-off contact. This is a special kind of narcissist’s logic that only sounds like redemption to someone who’s never had to truly redeem themselves.\u003c/p>\n\u003cp>MacLaine clearly relishes being worshipped by young folks, and eats up the screen in her DJ chair, delivering withering looks at all of her co-stars. But she never gives her character a sense that any human connections she’s making are intentional. Seyfried’s job, then, is to express on her own face everything that MacLaine does not: to mug and mug, and mug some more, until we accept she’s found her new mother figure. (Anne’s own mother, of course, walked out on her when she was young, presumably bound for the Island of Conveniently Absent Parents.) To jump from Harriet’s gynecologist remarking she has “the angriest vagina this side of China” to an end-of-life revisionist history stating that, actually, the woman wasn’t all bad would take a special emotional leap — or, maybe, just a scene where three cross-generational misfits jump into a lake together.\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>How odd it is to see an actor who defines Hollywood royalty entrust her legacy to a movie that doesn’t even know how to pad an obituary correctly. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shirley+MacLaine+Gets+%27The+Last+Word%27+%E2%80%94+And+You%27ll+Want+It+To+Be+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12843508/shirley-maclaine-gets-the-last-word-and-youll-want-it-to-be",
"authors": [
"byline_arts_12843508"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12843509",
"label": "arts"
},
"arts_12804600": {
"type": "posts",
"id": "arts_12804600",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12804600",
"score": null,
"sort": [
1488297623000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1488297623,
"format": "standard",
"title": "At BAMPFA, 'Hippie Modernism' Proves the Fight for Utopia is Far from Over",
"headTitle": "At BAMPFA, ‘Hippie Modernism’ Proves the Fight for Utopia is Far from Over | KQED",
"content": "\u003cp>A year after the \u003ca href=\"https://ww2.kqed.org/arts/2016/01/29/architecture-of-life-an-optimistic-start-for-new-bampfa/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive reopened\u003c/a> in its sleek Diller Scofidio + Renfro-designed building, it plays host to \u003ci>\u003ca href=\"http://www.bampfa.org/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, an exhibition which did not — surprisingly — originate in the Bay Area.\u003c/p>\n\u003cp>Curated by Andrew Blauvelt for the Walker Art Center in Minneapolis, \u003ci>Hippie Modernism\u003c/i> arrives at the birthplace of the hippie with a thrilling survey of counterculture art, architecture and design from 1964 to 1974 — or, as Blauvelt bookends it, a period of optimism from the beginning of the New York World’s Fair to the end of the OPEC oil crisis.\u003c/p>\n\u003cfigure id=\"attachment_12804799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200.jpg\" alt=\"Barry Shapiro, 'Handmade Houses,' early 1970s.\" width=\"1200\" height=\"1187\" class=\"size-full wp-image-12804799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-800x791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-1020x1009.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-1180x1167.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-960x950.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-375x371.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-128x128.jpg 128w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Barry Shapiro, ‘Handmade Houses,’ early 1970s. \u003ccite>(Courtesy of The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If hippies, usually characterized by Timothy Leary’s “turn on, tune in, drop out” mantra, didn’t (and don’t) seem particularly interested in the design principles of modernism, Blauvelt argues in the exhibition catalog that the hippie modern is a slightly different beast, able to realize the democratic potential of new technologies while seeking “a recuperation of the avant-garde’s utopic dream of integrating art into everyday life.” \u003c/p>\n\u003cp>On both floors of the BAMPFA, the expansive exhibition shows art integrated into new forms of everyday life: living spaces, wearables, publications, new media collectives, concert posters and artistic experiments that defy easy categorization. Conveniently built into the flow of the exhibition are immersive “chill” spaces meant to cocoon viewers from what might otherwise be an onslaught of information for those who didn’t live through the era in question.\u003c/p>\n\u003cfigure id=\"attachment_12804797\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200.jpg\" alt=\"Neville D'Almeida and Hélio Oiticica, 'CC5 Hendrixwar/Cosmococa Programa-in-Progress,' 1973.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12804797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Neville D’Almeida and Hélio Oiticica, ‘CC5 Hendrixwar/Cosmococa Programa-in-Progress,’ 1973. \u003ccite>(Courtesy of the Walker Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ken Isaacs’ \u003ci>Knowledge Box\u003c/i> (originally constructed \u003ca href=\"http://time.com/3878795/knowledge-box-photos-of-an-early-analog-wikipedia/\" target=\"_blank\" rel=\"noopener\">in 1962\u003c/a>) creates one such space, inside a 12-foot-tall wooden cube with 24 slide projectors positioned outside its six faces, pointing in. Viewers enter the cube through a round-cornered door and a two-minute “slideshow” begins, with black-and-white images culled from 1950s and ’60s magazines flashing randomly on the walls, floor and ceiling. A soundtrack of collaged music and spoken audio recordings plays. The artwork’s title suggests we should be learning something from it by osmosis, but it’s much more fun to stand, turn slowly in awe and appreciation, then loop back around the cube and do it all again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though the \u003ci>Knowledge Box\u003c/i> is quite literally a white cube, many of the works escape institutional or architectural constraints. Tucked into one corner of the exhibition, film and photographs of Ugo La Pietra’s \u003ci>Per Oggi Basta! (Enough for Today!)\u003c/i> show the Italian artist taking his practice to the streets of 1970s Milan. With a wooden A-frame structure he dubbed \u003ci>Il Commutatore\u003c/i> (the switch), La Pietra “switched” his view of the city, laying against the A-frame at different angles to take in building tops, overhead trees and crisscrossing electrical wires.\u003c/p>\n\u003cfigure id=\"attachment_12804800\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200.jpg\" alt=\"'Untitled,' c. 1970, Screenprint on paper.\" width=\"1200\" height=\"808\" class=\"size-full wp-image-12804800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-520x350.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Untitled,’ c. 1970, Screenprint on paper. \u003ccite>(Collection of Lincoln Cushing/Docs Populi Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Hippie Modernism\u003c/i> makes clear that the objects on view are not simply artifacts of a subculture flying under the radar of mainstream media, but the output of a counterculture seeking to reclaim every aspect of public, private and political life. In many cases, these gestures appear completely absurd: inflatable homes, a car cover crocheted from videotape, or François Dallegret’s enigmatic \u003ci>KiiK\u003c/i>. Dallegret declared the stainless steel barbell-shaped object “a unique, functional product to help cure body discomforts and mild obsessions.” The \u003ci>KiiK\u003c/i> is whatever you want it to be, though for external use only.\u003c/p>\n\u003cp>“For children under the age of three,” the accompanying poster reads, “consult your kiikologist.”\u003c/p>\n\u003cfigure id=\"attachment_12804796\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650.jpg\" alt=\"Community Memory terminal at Leopold's Records, Berkeley, California, c. 1974.\" width=\"650\" height=\"457\" class=\"size-full wp-image-12804796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-520x366.jpg 520w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Community Memory terminal at Leopold’s Records, Berkeley, California, c. 1974. \u003ccite>(Courtesy of the Computer History Museum, Mountain View, CA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Absurdity was just one manifestation of the decentralized movement’s underlying earnestness. In display after display, \u003ci>Hippie Modernism\u003c/i> showcases experiments in education, publication and building community, from the Colorado artists’ commune Drop City to the Community Memory Terminal, a coin-operated electronic bulletin board originally installed at Leopold’s Records in Berkeley in 1973. \u003c/p>\n\u003cp>It’s hard to view \u003ci>Hippie Modernism\u003c/i> now and not have mixed feelings about the unrealized utopias presented within it. The ideas put forth still have the power to excite and feel new — in part because the society these artists, designers and radicals sought to remake very much resembles the society we currently occupy. On my short walk to BART from the museum, signs of the Feb. 1 protest at UC Berkeley against a lecture by right-wing provocateur Milo Yiannopoulos were still visible, a fitting reminder that the struggle for utopia — or basic civil rights — isn’t relegated to the past.\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=\"Q.Logo.Break\" 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>‘Hippie Modernism: The Struggle for Utopia’ is on view at the Berkeley Art Museum and Pacific Film Archive through May 21, 2017. For more information visit \u003ca href=\"http://www.bampfa.org/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 864,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705031402,
"excerpt": "An expansive exhibition documents the artifacts of a counterculture that integrated art, architecture and design into an optimistic vision of everyday life.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An expansive exhibition documents the artifacts of a counterculture that integrated art, architecture and design into an optimistic vision of everyday life.",
"title": "At BAMPFA, 'Hippie Modernism' Proves the Fight for Utopia is Far from Over | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At BAMPFA, 'Hippie Modernism' Proves the Fight for Utopia is Far from Over",
"datePublished": "2017-02-28T08:00:23-08:00",
"dateModified": "2024-01-11T19:50:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over",
"status": "publish",
"sticky": false,
"path": "/arts/12804600/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A year after the \u003ca href=\"https://ww2.kqed.org/arts/2016/01/29/architecture-of-life-an-optimistic-start-for-new-bampfa/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive reopened\u003c/a> in its sleek Diller Scofidio + Renfro-designed building, it plays host to \u003ci>\u003ca href=\"http://www.bampfa.org/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, an exhibition which did not — surprisingly — originate in the Bay Area.\u003c/p>\n\u003cp>Curated by Andrew Blauvelt for the Walker Art Center in Minneapolis, \u003ci>Hippie Modernism\u003c/i> arrives at the birthplace of the hippie with a thrilling survey of counterculture art, architecture and design from 1964 to 1974 — or, as Blauvelt bookends it, a period of optimism from the beginning of the New York World’s Fair to the end of the OPEC oil crisis.\u003c/p>\n\u003cfigure id=\"attachment_12804799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200.jpg\" alt=\"Barry Shapiro, 'Handmade Houses,' early 1970s.\" width=\"1200\" height=\"1187\" class=\"size-full wp-image-12804799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-800x791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-1020x1009.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-1180x1167.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-960x950.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-375x371.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shapiro_Handmade-Houses00003889_029_1200-128x128.jpg 128w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Barry Shapiro, ‘Handmade Houses,’ early 1970s. \u003ccite>(Courtesy of The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If hippies, usually characterized by Timothy Leary’s “turn on, tune in, drop out” mantra, didn’t (and don’t) seem particularly interested in the design principles of modernism, Blauvelt argues in the exhibition catalog that the hippie modern is a slightly different beast, able to realize the democratic potential of new technologies while seeking “a recuperation of the avant-garde’s utopic dream of integrating art into everyday life.” \u003c/p>\n\u003cp>On both floors of the BAMPFA, the expansive exhibition shows art integrated into new forms of everyday life: living spaces, wearables, publications, new media collectives, concert posters and artistic experiments that defy easy categorization. Conveniently built into the flow of the exhibition are immersive “chill” spaces meant to cocoon viewers from what might otherwise be an onslaught of information for those who didn’t live through the era in question.\u003c/p>\n\u003cfigure id=\"attachment_12804797\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200.jpg\" alt=\"Neville D'Almeida and Hélio Oiticica, 'CC5 Hendrixwar/Cosmococa Programa-in-Progress,' 1973.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12804797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/DAlmeidaOiticica_CC5_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Neville D’Almeida and Hélio Oiticica, ‘CC5 Hendrixwar/Cosmococa Programa-in-Progress,’ 1973. \u003ccite>(Courtesy of the Walker Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ken Isaacs’ \u003ci>Knowledge Box\u003c/i> (originally constructed \u003ca href=\"http://time.com/3878795/knowledge-box-photos-of-an-early-analog-wikipedia/\" target=\"_blank\" rel=\"noopener\">in 1962\u003c/a>) creates one such space, inside a 12-foot-tall wooden cube with 24 slide projectors positioned outside its six faces, pointing in. Viewers enter the cube through a round-cornered door and a two-minute “slideshow” begins, with black-and-white images culled from 1950s and ’60s magazines flashing randomly on the walls, floor and ceiling. A soundtrack of collaged music and spoken audio recordings plays. The artwork’s title suggests we should be learning something from it by osmosis, but it’s much more fun to stand, turn slowly in awe and appreciation, then loop back around the cube and do it all again.\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>Even though the \u003ci>Knowledge Box\u003c/i> is quite literally a white cube, many of the works escape institutional or architectural constraints. Tucked into one corner of the exhibition, film and photographs of Ugo La Pietra’s \u003ci>Per Oggi Basta! (Enough for Today!)\u003c/i> show the Italian artist taking his practice to the streets of 1970s Milan. With a wooden A-frame structure he dubbed \u003ci>Il Commutatore\u003c/i> (the switch), La Pietra “switched” his view of the city, laying against the A-frame at different angles to take in building tops, overhead trees and crisscrossing electrical wires.\u003c/p>\n\u003cfigure id=\"attachment_12804800\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200.jpg\" alt=\"'Untitled,' c. 1970, Screenprint on paper.\" width=\"1200\" height=\"808\" class=\"size-full wp-image-12804800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unknown_Berkeley-Protest-Poster_001_1200-520x350.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Untitled,’ c. 1970, Screenprint on paper. \u003ccite>(Collection of Lincoln Cushing/Docs Populi Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Hippie Modernism\u003c/i> makes clear that the objects on view are not simply artifacts of a subculture flying under the radar of mainstream media, but the output of a counterculture seeking to reclaim every aspect of public, private and political life. In many cases, these gestures appear completely absurd: inflatable homes, a car cover crocheted from videotape, or François Dallegret’s enigmatic \u003ci>KiiK\u003c/i>. Dallegret declared the stainless steel barbell-shaped object “a unique, functional product to help cure body discomforts and mild obsessions.” The \u003ci>KiiK\u003c/i> is whatever you want it to be, though for external use only.\u003c/p>\n\u003cp>“For children under the age of three,” the accompanying poster reads, “consult your kiikologist.”\u003c/p>\n\u003cfigure id=\"attachment_12804796\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650.jpg\" alt=\"Community Memory terminal at Leopold's Records, Berkeley, California, c. 1974.\" width=\"650\" height=\"457\" class=\"size-full wp-image-12804796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Community-Memory-Terminal-at-Leopolds-Records-c1974_001_650-520x366.jpg 520w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Community Memory terminal at Leopold’s Records, Berkeley, California, c. 1974. \u003ccite>(Courtesy of the Computer History Museum, Mountain View, CA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Absurdity was just one manifestation of the decentralized movement’s underlying earnestness. In display after display, \u003ci>Hippie Modernism\u003c/i> showcases experiments in education, publication and building community, from the Colorado artists’ commune Drop City to the Community Memory Terminal, a coin-operated electronic bulletin board originally installed at Leopold’s Records in Berkeley in 1973. \u003c/p>\n\u003cp>It’s hard to view \u003ci>Hippie Modernism\u003c/i> now and not have mixed feelings about the unrealized utopias presented within it. The ideas put forth still have the power to excite and feel new — in part because the society these artists, designers and radicals sought to remake very much resembles the society we currently occupy. On my short walk to BART from the museum, signs of the Feb. 1 protest at UC Berkeley against a lecture by right-wing provocateur Milo Yiannopoulos were still visible, a fitting reminder that the struggle for utopia — or basic civil rights — isn’t relegated to the past.\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=\"Q.Logo.Break\" 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>‘Hippie Modernism: The Struggle for Utopia’ is on view at the Berkeley Art Museum and Pacific Film Archive through May 21, 2017. For more information visit \u003ca href=\"http://www.bampfa.org/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12804600/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_1334"
],
"featImg": "arts_12804795",
"label": "arts_140"
},
"arts_12799891": {
"type": "posts",
"id": "arts_12799891",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12799891",
"score": null,
"sort": [
1488124820000
]
},
"guestAuthors": [],
"slug": "in-praise-of-abandonment-the-love-lessons-in-melissa-febos-abandon-me",
"title": "In Praise of Abandonment: The Love Lessons in Melissa Febos' 'Abandon Me'",
"publishDate": 1488124820,
"format": "standard",
"headTitle": "In Praise of Abandonment: The Love Lessons in Melissa Febos’ ‘Abandon Me’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In reading and in life, I steer clear of anything that stinks of rose petals. I like telenovelas, but only to make fun of. I roll my eyes at Disney. I avoid romantic comedies like the plague. “I like things to be a little tragic,” I once told a lover as we parted ways. And I do.\u003c/p>\n\u003cp>\u003cem>Abandon Me \u003c/em>by Melissa Febos, a meditation on the underpinnings of love and attraction, is some such tragic book, but it is also a searing examination of the self by putting our desire to love under a scalpel. In \u003cem>Abandon Me \u003c/em>love is longed for, looked for, unrequited, requited, and then lost in all the traditional ways, yet at every corner there is ash and bones and mirrors and startling specters that surprise both Febos and her lover, a married poet.\u003c/p>\n\u003cfigure id=\"attachment_12805406\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg\" alt=\"Melissa Febos.\" width=\"400\" height=\"600\" class=\"size-full wp-image-12805406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Febos. \u003ccite>(Photo: Deborah Feingold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every story begins with an unraveling,” Febos writes. “This story starts with a kiss. Her mouth the soft nail on which my life snagged, and tore open.”\u003c/p>\n\u003cp>Febos’ first memoir, \u003cem>Whip Smart\u003c/em>, explored the author’s drug addiction and work as a dominatrix, but \u003cem>Abandon Me \u003c/em>is a journey to dissecting hunger, which is another of Febos’ words for love:\u003c/p>\n\u003cblockquote>\u003cp>Tenderness toward the object of our desire becomes an expression of love partly, I think, because it so defies the nature of want, whose instinct is often less to cuddle than to crush. My want was more gnash than kiss, more eat than embrace. I cared for my lover, but that kind of desire precludes many kinds of love. Hunger is selfish. I wanted her happiness. I also wanted to unzip my body and pull her into it, or crawl into hers. It is no accident that we go to the pulse. Lust is an urge to consume and perhaps there is no true expression of it that does not imply destruction. I can’t say. But even my tenderness for kittens includes an impulse to put them in my mouth.\u003c/p>\u003c/blockquote>\n\u003cp>There is something pioneering about the way Melissa Febos talks about love, connecting it to all its binary shadows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the paths forged by Eve Ensler and the futurist Mina Loy, Febos routes a new pathway. My favorite Ensler quote — \u003cem class=\"markup--em markup--p-em\">That we find freedom, aliveness, and power not from what contains, locates, or protects us, but from what dissolves, reveals, and expands us\u003c/em> — could easily have been dropped at any place in this book.\u003c/p>\n\u003cfigure id=\"attachment_12805002\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glaspalast_Mu%CC%88nchen_1891_074b.jpg\" alt=\"'Victory of love,' an illustration by Léon Bazille Perrault. \" width=\"462\" height=\"683\" class=\"size-full wp-image-12805002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-240x355.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-375x554.jpg 375w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003cfigcaption class=\"wp-caption-text\">‘Victory of love,’ an illustration by Léon Bazille Perrault. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Febos is a reader, a lover of stories. The adoptive daughter of a sea captain, Febos spent many hours in waiting of him. As an adult, she chose an unavailable woman she could wait for. She likens their relationship to the myth of Andromeda, who is stripped naked and chained to a rock so that her city may be spared from the wrath of the sea monster Cetus. Andromeda’s mother offended Poseidon, god of the oceans, and thus Andromeda paid for her mother’s transgression. “Like Andromeda, I knew already that fastening in me,” Febos writes, “but not which of us was rock or goddess or monster or rescue.”\u003c/p>\n\u003cp>While at times the author’s scattered attention to dictionary definitions and symbols are mentioned so quickly as to be off-putting, this book as a treatise on the siren call that leads us to re-stage events that have wounded us, so that we can produce a different ending, is absolutely luminous. The writing is crisp and unsettling. And Febos’ view of love denudes all romanticism from it, which is as refreshing as it does ring true: “And when you love, when you become the home for someone else’s heart, you are like a house with a prisoner in the cellar. Your beloved hears the thump of that cellar door.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Melissa Febos appears in conversation with Mallory Ortberg at Green Apple Books on Ninth Avenue in San Francisco on Thursday, March 16, at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-melissa-febos-conversation-mallory-ortberg\">Details here\u003c/a>. Febos also reads at Diesel Bookstore in Oakland on Wednesday, March 15, at 7pm. \u003ca href=\"http://www.dieselbookstore.com/event/melissa-febos-discusses-and-signs-abandon-me\">Deatils here.\u003c/a>\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Febos’ first memoir, 'Whip Smart,' explored the author’s work as a dominatrix, but her newest is a deeper meditation on the underpinnings of love and attraction.",
"status": "publish",
"parent": 0,
"modified": 1726700289,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 724
},
"headData": {
"title": "In Praise of Abandonment: The Love Lessons in Melissa Febos' 'Abandon Me' | KQED",
"description": "Febos’ first memoir, 'Whip Smart,' explored the author’s work as a dominatrix, but her newest is a deeper meditation on the underpinnings of love and attraction.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Praise of Abandonment: The Love Lessons in Melissa Febos' 'Abandon Me'",
"datePublished": "2017-02-26T08:00:20-08:00",
"dateModified": "2024-09-18T15:58:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12799891/in-praise-of-abandonment-the-love-lessons-in-melissa-febos-abandon-me",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In reading and in life, I steer clear of anything that stinks of rose petals. I like telenovelas, but only to make fun of. I roll my eyes at Disney. I avoid romantic comedies like the plague. “I like things to be a little tragic,” I once told a lover as we parted ways. And I do.\u003c/p>\n\u003cp>\u003cem>Abandon Me \u003c/em>by Melissa Febos, a meditation on the underpinnings of love and attraction, is some such tragic book, but it is also a searing examination of the self by putting our desire to love under a scalpel. In \u003cem>Abandon Me \u003c/em>love is longed for, looked for, unrequited, requited, and then lost in all the traditional ways, yet at every corner there is ash and bones and mirrors and startling specters that surprise both Febos and her lover, a married poet.\u003c/p>\n\u003cfigure id=\"attachment_12805406\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg\" alt=\"Melissa Febos.\" width=\"400\" height=\"600\" class=\"size-full wp-image-12805406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Febos. \u003ccite>(Photo: Deborah Feingold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every story begins with an unraveling,” Febos writes. “This story starts with a kiss. Her mouth the soft nail on which my life snagged, and tore open.”\u003c/p>\n\u003cp>Febos’ first memoir, \u003cem>Whip Smart\u003c/em>, explored the author’s drug addiction and work as a dominatrix, but \u003cem>Abandon Me \u003c/em>is a journey to dissecting hunger, which is another of Febos’ words for love:\u003c/p>\n\u003cblockquote>\u003cp>Tenderness toward the object of our desire becomes an expression of love partly, I think, because it so defies the nature of want, whose instinct is often less to cuddle than to crush. My want was more gnash than kiss, more eat than embrace. I cared for my lover, but that kind of desire precludes many kinds of love. Hunger is selfish. I wanted her happiness. I also wanted to unzip my body and pull her into it, or crawl into hers. It is no accident that we go to the pulse. Lust is an urge to consume and perhaps there is no true expression of it that does not imply destruction. I can’t say. But even my tenderness for kittens includes an impulse to put them in my mouth.\u003c/p>\u003c/blockquote>\n\u003cp>There is something pioneering about the way Melissa Febos talks about love, connecting it to all its binary shadows.\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 the paths forged by Eve Ensler and the futurist Mina Loy, Febos routes a new pathway. My favorite Ensler quote — \u003cem class=\"markup--em markup--p-em\">That we find freedom, aliveness, and power not from what contains, locates, or protects us, but from what dissolves, reveals, and expands us\u003c/em> — could easily have been dropped at any place in this book.\u003c/p>\n\u003cfigure id=\"attachment_12805002\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glaspalast_Mu%CC%88nchen_1891_074b.jpg\" alt=\"'Victory of love,' an illustration by Léon Bazille Perrault. \" width=\"462\" height=\"683\" class=\"size-full wp-image-12805002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-240x355.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-375x554.jpg 375w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003cfigcaption class=\"wp-caption-text\">‘Victory of love,’ an illustration by Léon Bazille Perrault. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Febos is a reader, a lover of stories. The adoptive daughter of a sea captain, Febos spent many hours in waiting of him. As an adult, she chose an unavailable woman she could wait for. She likens their relationship to the myth of Andromeda, who is stripped naked and chained to a rock so that her city may be spared from the wrath of the sea monster Cetus. Andromeda’s mother offended Poseidon, god of the oceans, and thus Andromeda paid for her mother’s transgression. “Like Andromeda, I knew already that fastening in me,” Febos writes, “but not which of us was rock or goddess or monster or rescue.”\u003c/p>\n\u003cp>While at times the author’s scattered attention to dictionary definitions and symbols are mentioned so quickly as to be off-putting, this book as a treatise on the siren call that leads us to re-stage events that have wounded us, so that we can produce a different ending, is absolutely luminous. The writing is crisp and unsettling. And Febos’ view of love denudes all romanticism from it, which is as refreshing as it does ring true: “And when you love, when you become the home for someone else’s heart, you are like a house with a prisoner in the cellar. Your beloved hears the thump of that cellar door.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Melissa Febos appears in conversation with Mallory Ortberg at Green Apple Books on Ninth Avenue in San Francisco on Thursday, March 16, at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-melissa-febos-conversation-mallory-ortberg\">Details here\u003c/a>. Febos also reads at Diesel Bookstore in Oakland on Wednesday, March 15, at 7pm. \u003ca href=\"http://www.dieselbookstore.com/event/melissa-febos-discusses-and-signs-abandon-me\">Deatils here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12799891/in-praise-of-abandonment-the-love-lessons-in-melissa-febos-abandon-me",
"authors": [
"78"
],
"categories": [
"arts_73"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_1234"
],
"featImg": "arts_12805405",
"label": "arts"
},
"arts_12805796": {
"type": "posts",
"id": "arts_12805796",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12805796",
"score": null,
"sort": [
1487977257000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1487977257,
"format": "standard",
"title": "Ubuntu's Novel-Yet-Lacking 'Death of a Salesman' Looks to a New Age",
"headTitle": "Ubuntu’s Novel-Yet-Lacking ‘Death of a Salesman’ Looks to a New Age | KQED",
"content": "\u003cp>If many now feel America is entering a nightmare age, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Arthur Miller’s standard-bearer of thwarted American hope, \u003cem>Death of a Salesman\u003c/em>, offers strange, distorted messages from the past. There’s plenty of anger in Miller’s 1949 play, but there’s no President Trump to direct it at and give it political shape.\u003c/p>\n\u003cp>Willy Loman, the deluded salesman of the title, is furious, and he’s furious at the system. And yet he saves his most savage attacks for his wife Linda, his sons Biff and Happy, and worst of all, himself. For Loman, the political is personal, and that’s all it is. Right from its premiere, critics have argued over the play’s curious blending of metaphysics and social protest: Is it a tragedy? Is an American tragedy even possible? And if so, has Miller achieved that exalted state?\u003c/p>\n\u003cp>The Ubuntu production, under Michael Socrates Moran’s direction, finds its own strange path to these questions, as well as the question of what to make of Miller’s play in 2017. That it begins as a slight dream on a fall day is the first surprise. You enter the theater and the actors are already there, the stage covered with what looks like freshly blown leaves. And there’s Loman, sleeping on a mound of suitcases as the cast wanders about the stage in raincoats and fedoras.\u003c/p>\n\u003cfigure id=\"attachment_12805997\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805997 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg\" alt=\"Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project's production of 'Death of a Salesman' by Arthur Miller.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project’s production of ‘Death of a Salesman’ by Arthur Miller. \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an arresting and beautiful opening image, perfectly calibrated to suit Ubuntu’s church-loft theater — a \u003cem>Salesman\u003c/em> filtered through the eyes of Rene Magritte and Samuel Beckett. Long-time Bay Area actor Julian López-Morillas’ performance is superb, both in playing Loman, and, more importantly, in playing the character in a way that feels as if he’s seeped himself into the scenery. It’s a nightmare, but a gentle, surrealist one tinged with care.\u003c/p>\n\u003cp>And that’s the key tension in Ubuntu’s production: the weird relationship between kindness and horror. It’s not that Loman is without people who love him, or that he lives in a world without compassion. It’s that legitimate care and love make him feel worthless. Linda’s defense of his so-called importance — “attention must be paid” — leads Loman to further pain and delusions. His neighbor Charley’s offer of help, in the form of a job with enough money to survive, comes as a stinging rebuke. Sixty-eight years later, Loman’s despair probably would have led him to embrace the raucous anger of Trump or the white-hot socialism of Bernie Sanders, but here he’s just lost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the production gives full expression to these subtle humiliations, you feel Miller’s play and vision in a new way — that kindness can be just as corrosive as hate. Yet, getting this message across is a high-wire act that Moran and his cast have trouble maintaining.\u003c/p>\n\u003cfigure id=\"attachment_12805797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805797 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg\" alt=\"Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project's 'Death of a Salesman.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project’s ‘Death of a Salesman.’ \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production is packed with fitful moments of brilliance that come from the force and focus of the acting in relation to the production and design. Dawn Troupe’s Linda floats through the leaves on stage without a crackle, sometimes seeming to disappear right in front of us. You have a sense that Norman Gee’s Charley just walked across the street and into the play. And Margherita Ventura’s floozy feels as if she came to the theater drunk, sat in the front row, and fell onto the stage. They, along with López-Morillas, cut deep into the play and temper Moran’s stylized direction with a haunting reality.\u003c/p>\n\u003cp>But not all of the performances succeed. Nathaniel Andalis and Mohammad Shehatat as Biff and Happy are good actors, but they tend to play to their own characters rather than the whole production. They aren’t rooted in the landscape the way López-Morillas is. In this production, false notes are hard to hide. They jar you away from what’s most compelling about the dreamscape. Ubuntu is a daring company, and this is in many ways a daring production with many terrific moments. But it feels unfinished.\u003c/p>\n\u003cp>For all the debates about what Miller achieved with \u003cem>Salesman\u003c/em>, there was always the feeling that he had cut through to a complete experience and spoken directly to the ills of the country. We’ve moved to a different kind of reality now, and so Ubuntu’s \u003cem>Salesman\u003c/em> feels appropriate. It’s a trip to the past to see the genesis of the future, and yet we want and need more from this production. We need for Moran and his actors to finish the circle, to take us from the metaphysical disaster of a lone \u003cem>Salesman\u003c/em> to the political one we’re experiencing now. They’ve taken a few strong steps to do just that, but the full journey is still unrealized.\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=\"Q.Logo.Break\" 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>‘Death of a Salesman’ runs through Sunday, Mar. 5, at the Brooklyn Preserve in Oakland. For tickets and information, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 983,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705031437,
"excerpt": "If many now feel America is entering a nightmare age, Ubuntu Theater Project’s production of Arthur Miller’s classic standard-bearer of thwarted American hope offers strange, distorted messages from the past. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If many now feel America is entering a nightmare age, Ubuntu Theater Project’s production of Arthur Miller’s classic standard-bearer of thwarted American hope offers strange, distorted messages from the past. ",
"title": "Ubuntu's Novel-Yet-Lacking 'Death of a Salesman' Looks to a New Age | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ubuntu's Novel-Yet-Lacking 'Death of a Salesman' Looks to a New Age",
"datePublished": "2017-02-24T15:00:57-08:00",
"dateModified": "2024-01-11T19:50:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ubuntus-novel-but-problematic-death-of-a-salesman-looks-to-a-new-age",
"status": "publish",
"sticky": false,
"path": "/arts/12805796/ubuntus-novel-but-problematic-death-of-a-salesman-looks-to-a-new-age",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If many now feel America is entering a nightmare age, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Arthur Miller’s standard-bearer of thwarted American hope, \u003cem>Death of a Salesman\u003c/em>, offers strange, distorted messages from the past. There’s plenty of anger in Miller’s 1949 play, but there’s no President Trump to direct it at and give it political shape.\u003c/p>\n\u003cp>Willy Loman, the deluded salesman of the title, is furious, and he’s furious at the system. And yet he saves his most savage attacks for his wife Linda, his sons Biff and Happy, and worst of all, himself. For Loman, the political is personal, and that’s all it is. Right from its premiere, critics have argued over the play’s curious blending of metaphysics and social protest: Is it a tragedy? Is an American tragedy even possible? And if so, has Miller achieved that exalted state?\u003c/p>\n\u003cp>The Ubuntu production, under Michael Socrates Moran’s direction, finds its own strange path to these questions, as well as the question of what to make of Miller’s play in 2017. That it begins as a slight dream on a fall day is the first surprise. You enter the theater and the actors are already there, the stage covered with what looks like freshly blown leaves. And there’s Loman, sleeping on a mound of suitcases as the cast wanders about the stage in raincoats and fedoras.\u003c/p>\n\u003cfigure id=\"attachment_12805997\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805997 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg\" alt=\"Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project's production of 'Death of a Salesman' by Arthur Miller.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project’s production of ‘Death of a Salesman’ by Arthur Miller. \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an arresting and beautiful opening image, perfectly calibrated to suit Ubuntu’s church-loft theater — a \u003cem>Salesman\u003c/em> filtered through the eyes of Rene Magritte and Samuel Beckett. Long-time Bay Area actor Julian López-Morillas’ performance is superb, both in playing Loman, and, more importantly, in playing the character in a way that feels as if he’s seeped himself into the scenery. It’s a nightmare, but a gentle, surrealist one tinged with care.\u003c/p>\n\u003cp>And that’s the key tension in Ubuntu’s production: the weird relationship between kindness and horror. It’s not that Loman is without people who love him, or that he lives in a world without compassion. It’s that legitimate care and love make him feel worthless. Linda’s defense of his so-called importance — “attention must be paid” — leads Loman to further pain and delusions. His neighbor Charley’s offer of help, in the form of a job with enough money to survive, comes as a stinging rebuke. Sixty-eight years later, Loman’s despair probably would have led him to embrace the raucous anger of Trump or the white-hot socialism of Bernie Sanders, but here he’s just lost.\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>When the production gives full expression to these subtle humiliations, you feel Miller’s play and vision in a new way — that kindness can be just as corrosive as hate. Yet, getting this message across is a high-wire act that Moran and his cast have trouble maintaining.\u003c/p>\n\u003cfigure id=\"attachment_12805797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805797 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg\" alt=\"Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project's 'Death of a Salesman.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project’s ‘Death of a Salesman.’ \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production is packed with fitful moments of brilliance that come from the force and focus of the acting in relation to the production and design. Dawn Troupe’s Linda floats through the leaves on stage without a crackle, sometimes seeming to disappear right in front of us. You have a sense that Norman Gee’s Charley just walked across the street and into the play. And Margherita Ventura’s floozy feels as if she came to the theater drunk, sat in the front row, and fell onto the stage. They, along with López-Morillas, cut deep into the play and temper Moran’s stylized direction with a haunting reality.\u003c/p>\n\u003cp>But not all of the performances succeed. Nathaniel Andalis and Mohammad Shehatat as Biff and Happy are good actors, but they tend to play to their own characters rather than the whole production. They aren’t rooted in the landscape the way López-Morillas is. In this production, false notes are hard to hide. They jar you away from what’s most compelling about the dreamscape. Ubuntu is a daring company, and this is in many ways a daring production with many terrific moments. But it feels unfinished.\u003c/p>\n\u003cp>For all the debates about what Miller achieved with \u003cem>Salesman\u003c/em>, there was always the feeling that he had cut through to a complete experience and spoken directly to the ills of the country. We’ve moved to a different kind of reality now, and so Ubuntu’s \u003cem>Salesman\u003c/em> feels appropriate. It’s a trip to the past to see the genesis of the future, and yet we want and need more from this production. We need for Moran and his actors to finish the circle, to take us from the metaphysical disaster of a lone \u003cem>Salesman\u003c/em> to the political one we’re experiencing now. They’ve taken a few strong steps to do just that, but the full journey is still unrealized.\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=\"Q.Logo.Break\" 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>‘Death of a Salesman’ runs through Sunday, Mar. 5, at the Brooklyn Preserve in Oakland. For tickets and information, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12805796/ubuntus-novel-but-problematic-death-of-a-salesman-looks-to-a-new-age",
"authors": [
"8668"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1642",
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12806190",
"label": "arts"
},
"arts_12810478": {
"type": "posts",
"id": "arts_12810478",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12810478",
"score": null,
"sort": [
1487952000000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1487952000,
"format": "standard",
"title": "'Get Out': A Terrifically Topical — And Terrifying — Satire",
"headTitle": "‘Get Out’: A Terrifically Topical — And Terrifying — Satire | KQED",
"content": "\u003cp>Horror parodies are seldom as funny, and never as scary, as fright-flicks that play their scares, er, straight. Jordan Peele — the shorter half of the 21st century’s funniest sketch-comedy duo — understands this, and that’s why \u003cem>Get Out,\u003c/em> his debut feature as writer and director, is so truly, madly, mercilessly entertaining, even when it makes you want to jump out of your skin. It is small-c catholic in its tastes, liberally sampling elements of \u003cem>Guess Who’s Coming to Dinner, Rosemary’s Baby\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> before morphing into the most potent racial revenge fantasy since \u003cem>Django Unchained\u003c/em>. But a parody it’s not: It’s as gnarly as \u003cem>Green Room,\u003c/em> 2016’s nerviest thriller, whose villains wore their bigotry on their tattooed arms. What makes \u003cem>Get Out\u003c/em> stand out is that its social critique — usually present in the horror-survival genre as subtext — is very much its text.\u003c/p>\n\u003cp>https://youtu.be/sRfnevzM9kQ\u003c/p>\n\u003cp>That’s a writing trick Peele and his creative partner, Keegan-Michael Key, used over and over again through five seasons of their marvelous Comedy Central series, one that boasted production values that stood head and shoulders above anything else in sketch TV. \u003cem>Key & Peele\u003c/em>’s movie sendups looked like real movies, and now we have a good idea why: Peele is a world-class filmmaker. (Nearly all \u003cem>Key & Peele\u003c/em> episodes were directed by Peter Atencio, who also directed the two comics in last year’s \u003cem>Keanu\u003c/em>. That was a funny movie, but it had nothing like the invention, the intensity or the shimmering, righteous anger that \u003cem>Get Out\u003c/em> possesses.) His movie is as much a triumph of craft as of inspiration.\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>’s cautionary tale concerns Chris (Daniel Kaluuya), a 26-year-old photographer, whose white girlfriend, Rose Armitage (Allison Williams from HBO’s \u003cem>Girls,\u003c/em> though her carbon-fiber jawline makes you wonder how she hasn’t shown up in an \u003cem>Alien\u003c/em> sequel yet), takes him home to meet her affluent parents. She hasn’t told them the man she is dating is black, but she assures Chris their liberal credentials are in good standing and that he’ll be welcomed unconditionally. Chris is wary, but he loves Rose and trusts her, so he overrules his better judgment — and the warnings of his TSA agent best pal, Rod (LilRel Howery, marvelous in a comic supporting role) — and they drive upstate. When a cop demands Chris’s ID after a minor accident even though Rose was the one driving, Rose calls out the cop for profiling even though Chris is eager to comply. In Rose, it seems, Chris has found a true and constant ally.\u003c/p>\n\u003cp>The less I tell you about what happens once she introduces Chris to her folks — Catherine Keener and Bradley Whitford, perfectly cast as a smug psychiatrist and a smug neurosurgeon, respectively — the better. Let it suffice to say that Allison’s louche med-student brother (Caleb Landry Jones) can’t refrain from commenting admiringly on Chris’s “genetic makeup” and that the Armitages are weirdly insistent Chris meet every one of their neighbors, one of whom cheerfully observes that “black is in fashion again.” \u003cem>Green Room\u003c/em>’s gaptoothed skinheads had nothing on these cardigan-wearing, tea-sipping Clinton voters. Even more unsettling is the fact that the Armitages’ black housekeeper (Betty Gabriel) and their black gardener/handyman (Marcus Henderson) evince a Stepford-like servility when they’re around company and behave even more strangely when they think they’re alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it takes a long time for the microaggressions Chris experiences at the hands of the Armitages and their confederates to harden into something more directly threatening — long enough for Chris, and for us, to wonder if he’s just being paranoid. Rose listens to him airing these concerns with saintly patience, but Peele’s handheld camera in these scenes keeps the anxiety high. It’s rare to find a first-time director so fully in command of his tone. But if 90 percent of directing is casting (an adage that’s been variously ascribed to John Ford, Elia Kazan and many others) then Peele started at 90: His actors are top-to-bottom great, but Kaluuya (whose expressive face you may recall from “15 Million Merits,” perhaps the most upsetting of all \u003cem>Black Mirror\u003c/em> episodes) is especially magnetic, letting us see the grinding gearworks behind his eyes without speaking a word.\u003c/p>\n\u003cp>That other 10 percent we have to give to Peele. He opens the picture with a long steadicam shot of a young black man’s attempt to locate an address in a suburban, presumably majority-white neighborhood after dark, while a car creeps along too slowly beside him. We’re primed to expect a Trayvon Martin-esque killing, and the way the scene resolves is the first of Peele’s many rug-pulls. It’s a powerful sequence, but \u003cem>Get Out\u003c/em> might’ve been even stronger without it. This prologue seems inserted to pre-empt complaints that \u003cem>Get Out\u003c/em> takes too long to Get Going. It doesn’t. Its pace, like everything else about it, is just right.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And righteous.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 910,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705031443,
"excerpt": "Comedian Jordan Peele's debut feature as writer/director is a blisteringly smart horror film buoyed by the \"shimmering, righteous anger\" of its take on race.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Comedian Jordan Peele's debut feature as writer/director is a blisteringly smart horror film buoyed by the "shimmering, righteous anger" of its take on race.",
"title": "'Get Out': A Terrifically Topical — And Terrifying — Satire | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Get Out': A Terrifically Topical — And Terrifying — Satire",
"datePublished": "2017-02-24T08:00:00-08:00",
"dateModified": "2024-01-11T19:50:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "get-out-a-terrifically-topical-and-terrifying-satire",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=515781517&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 23 Feb 2017 17:00:06 -0500",
"nprLastModifiedDate": "Thu, 23 Feb 2017 17:00:06 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/02/23/515781517/get-out-a-terrifically-topical-and-terrifying-satire?ft=nprml&f=515781517",
"nprImageAgency": "Universal Pictures",
"nprImageCredit": "Justin Lubin",
"nprStoryId": "515781517",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 23 Feb 2017 17:00:00 -0500",
"path": "/arts/12810478/get-out-a-terrifically-topical-and-terrifying-satire",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Horror parodies are seldom as funny, and never as scary, as fright-flicks that play their scares, er, straight. Jordan Peele — the shorter half of the 21st century’s funniest sketch-comedy duo — understands this, and that’s why \u003cem>Get Out,\u003c/em> his debut feature as writer and director, is so truly, madly, mercilessly entertaining, even when it makes you want to jump out of your skin. It is small-c catholic in its tastes, liberally sampling elements of \u003cem>Guess Who’s Coming to Dinner, Rosemary’s Baby\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> before morphing into the most potent racial revenge fantasy since \u003cem>Django Unchained\u003c/em>. But a parody it’s not: It’s as gnarly as \u003cem>Green Room,\u003c/em> 2016’s nerviest thriller, whose villains wore their bigotry on their tattooed arms. What makes \u003cem>Get Out\u003c/em> stand out is that its social critique — usually present in the horror-survival genre as subtext — is very much its text.\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/sRfnevzM9kQ'\n title='//www.youtube.com/embed/sRfnevzM9kQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s a writing trick Peele and his creative partner, Keegan-Michael Key, used over and over again through five seasons of their marvelous Comedy Central series, one that boasted production values that stood head and shoulders above anything else in sketch TV. \u003cem>Key & Peele\u003c/em>’s movie sendups looked like real movies, and now we have a good idea why: Peele is a world-class filmmaker. (Nearly all \u003cem>Key & Peele\u003c/em> episodes were directed by Peter Atencio, who also directed the two comics in last year’s \u003cem>Keanu\u003c/em>. That was a funny movie, but it had nothing like the invention, the intensity or the shimmering, righteous anger that \u003cem>Get Out\u003c/em> possesses.) His movie is as much a triumph of craft as of inspiration.\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>’s cautionary tale concerns Chris (Daniel Kaluuya), a 26-year-old photographer, whose white girlfriend, Rose Armitage (Allison Williams from HBO’s \u003cem>Girls,\u003c/em> though her carbon-fiber jawline makes you wonder how she hasn’t shown up in an \u003cem>Alien\u003c/em> sequel yet), takes him home to meet her affluent parents. She hasn’t told them the man she is dating is black, but she assures Chris their liberal credentials are in good standing and that he’ll be welcomed unconditionally. Chris is wary, but he loves Rose and trusts her, so he overrules his better judgment — and the warnings of his TSA agent best pal, Rod (LilRel Howery, marvelous in a comic supporting role) — and they drive upstate. When a cop demands Chris’s ID after a minor accident even though Rose was the one driving, Rose calls out the cop for profiling even though Chris is eager to comply. In Rose, it seems, Chris has found a true and constant ally.\u003c/p>\n\u003cp>The less I tell you about what happens once she introduces Chris to her folks — Catherine Keener and Bradley Whitford, perfectly cast as a smug psychiatrist and a smug neurosurgeon, respectively — the better. Let it suffice to say that Allison’s louche med-student brother (Caleb Landry Jones) can’t refrain from commenting admiringly on Chris’s “genetic makeup” and that the Armitages are weirdly insistent Chris meet every one of their neighbors, one of whom cheerfully observes that “black is in fashion again.” \u003cem>Green Room\u003c/em>’s gaptoothed skinheads had nothing on these cardigan-wearing, tea-sipping Clinton voters. Even more unsettling is the fact that the Armitages’ black housekeeper (Betty Gabriel) and their black gardener/handyman (Marcus Henderson) evince a Stepford-like servility when they’re around company and behave even more strangely when they think they’re alone.\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 it takes a long time for the microaggressions Chris experiences at the hands of the Armitages and their confederates to harden into something more directly threatening — long enough for Chris, and for us, to wonder if he’s just being paranoid. Rose listens to him airing these concerns with saintly patience, but Peele’s handheld camera in these scenes keeps the anxiety high. It’s rare to find a first-time director so fully in command of his tone. But if 90 percent of directing is casting (an adage that’s been variously ascribed to John Ford, Elia Kazan and many others) then Peele started at 90: His actors are top-to-bottom great, but Kaluuya (whose expressive face you may recall from “15 Million Merits,” perhaps the most upsetting of all \u003cem>Black Mirror\u003c/em> episodes) is especially magnetic, letting us see the grinding gearworks behind his eyes without speaking a word.\u003c/p>\n\u003cp>That other 10 percent we have to give to Peele. He opens the picture with a long steadicam shot of a young black man’s attempt to locate an address in a suburban, presumably majority-white neighborhood after dark, while a car creeps along too slowly beside him. We’re primed to expect a Trayvon Martin-esque killing, and the way the scene resolves is the first of Peele’s many rug-pulls. It’s a powerful sequence, but \u003cem>Get Out\u003c/em> might’ve been even stronger without it. This prologue seems inserted to pre-empt complaints that \u003cem>Get Out\u003c/em> takes too long to Get Going. It doesn’t. Its pace, like everything else about it, is just right.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And righteous.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12810478/get-out-a-terrifically-topical-and-terrifying-satire",
"authors": [
"byline_arts_12810478"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12810479",
"label": "arts_137"
},
"arts_12794413": {
"type": "posts",
"id": "arts_12794413",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12794413",
"score": null,
"sort": [
1487880040000
]
},
"guestAuthors": [],
"slug": "black-choreographers-festival-points-to-black-bodies-in-crisis",
"title": "Black Choreographers Festival Points to Black Bodies in Crisis",
"publishDate": 1487880040,
"format": "standard",
"headTitle": "Black Choreographers Festival Points to Black Bodies in Crisis | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s impossible to miss the political implications of this year’s annual \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>. The two programs I’ve witnessed so far in the three-weekend event featured image after image of black bodies in crisis. Though what those bodies want and how those bodies respond is startling and, at times, bracingly elusive.\u003c/p>\n\u003cp>Here are some of the highlights I experienced at the festival, which culminates this weekend at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Marc Bamuthi Joseph’s \u003cem>peh-LO-tah\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marc Bamuthi Joseph performs an excerpt from his dance theater work, \u003cem>peh-LO-tah. \u003c/em>Presented in full at Yerba Buena Center for the Arts last November, the work is a meditation on soccer and trans-African identity. Joseph enters in a hoodie, his body tensed and ready for action — an iconic image dripping with irony and sincerity. After all he’s here to dance, and the action he’s ready for is soccer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a sharp, stinging entrance, freighted with double and triple meanings — an athlete must dominate, elude, and trick, and so must a criminal, and so must a father. And yet, all he’s doing is preparing to practice for a game, though Joseph makes it clear that a black man’s never just doing anything. He is always performing more than himself.\u003c/p>\n\u003cfigure id=\"attachment_12801072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12801072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg\" alt=\"Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his 'pen-LO-tah.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his ‘pen-LO-tah.’ \u003ccite>(Photo: Greg Bridges)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What follows are a series of elaborate and frenetic soccer inflected dances, culminating in a duet with a stationary ball. We can feel Joseph push his body to uncomfortable limits, dancing faster and faster and challenging his ability to remain precise, focused, and within the confines of the game, not to mention his choreography. It’s clear that in many ways, he’s losing his own bet.\u003c/p>\n\u003cp>When Joseph stops dancing, he loosens his body and talks to us about aging and his fears for his son. He wonders what he will pass on. It’s a scene of complete exhaustion and overcoming — of the world, injustice, and the limits of freedom. Here is a body both ready for action and already spent. One might say that Joseph has been overcome with meaning; that blackness — as it’s presently constructed — is Sisyphean, a cultural weight that never ends.\u003c/p>\n\u003cp>\u003cstrong>Gregory Dawson’s \u003cem>plus de véritiés\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elsewhere on the program, Gregory Dawson’s \u003cem>plus de véritiés\u003c/em> shares with Joseph’s work a metaphorical richness. But it’s pitched in a decidedly different key. Here the mode is classical and restrained, though at times unexpectedly explosive. The piece begins in sculptural repose: three slender men in what seem like stylized Speedos stand in a row up and down the stage, side spots wrapping light around them. Even in stillness, they flicker in movement.\u003c/p>\n\u003cfigure id=\"attachment_12800873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg\" alt=\"The intricate nature of Gregory Dawson's choreography is spellbinding.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-768x430.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1020x571.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1180x661.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-960x538.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intricate nature of Gregory Dawson’s choreography is spellbinding.\u003c/figcaption>\u003c/figure>\n\u003cp>When the performers do move, they do so in what one might call an almost unison — the timing is precisely just off. And so what you see, you see again, and again, as if each dancer were locked in his own time frame, and yet also part of the same movement and image. That oscillation between the individual and the group is stunningly rendered. Yet at least as Dawson presents it, you can feel that it’s a source of bitter disappointment.\u003c/p>\n\u003cp>Throughout the piece, dancers fall for no reason. Even when they hold each other up, they somehow reach the ground. It’s a disheartening vision of loss, especially after so many doubled and tripled images. And in the end when the dancers simply walk towards the audience, you hear through the music the muffled voice of James Baldwin mentioning something about love. This makes you wonder how love could be a part of this world. This is beautiful, but it’s not love.\u003c/p>\n\u003cp>The triumph of Dawson’s piece is that it is both absolutely present and mysteriously absent, which might be the signature trick of the evening. In many ways, he eludes the questions that Joseph deals with straight on, and yet neither can escape despair and disappointment. It’s as if it’s built into the system of everyday life, and that we can feel the system subtly and forcefully working its way through the dance — as if all dance were a black choreographer’s nightmare.\u003c/p>\n\u003cp>\u003cstrong>Maurya Kerr’s \u003cem>Fable: three\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Maurya Kerr’s solo piece \u003cem>Fable: three\u003c/em>, sharply danced by Alex Diaz, catches that nightmare and turns it upside down. Here, the black body’s pain and confusion is just the beginning and each assault is countered by an equally forceful attempt to come to rest. Kerr begins with Diaz’s back turned to the audience, stretched, or maybe tensed, to the heavens. And then Alva Noto’s score unleashes a wave of sound upon him and he doubles over in a spasm of hurt.\u003c/p>\n\u003cp>Kerr’s choreography captures piercing pain and the delicate attempts to manage it. Over and over, Diaz pats the air with his hands, as if trying to center or ground himself in a world electric with shock and violence. Or he simply tries to regulate his breathing, a subtle reminder that “I can’t breathe” is more than a phrase, but an absolute threat to life.\u003c/p>\n\u003cp>That the assaults come from everywhere and nowhere is terrifying. Like Noto’s music, they pierce the air around us. And yet the most memorable aspect of Kerr’s piece isn’t the violence that the dancer suffers, but rather his repeated attempts to transcend those attacks and rest — to breathe normally, to gain balance, to remind himself that there is another world and that he might be all right in it.\u003c/p>\n\u003cp>\u003cstrong>Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If escape is a dream in Kerr’s piece, it becomes a strange reality in Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>, an odd mashup of 18th century fashion, sci-fi utopianism, and the pulsing energy of the nightclub. To watch Simpson’s dancers bend over, pause, and then shake their white-haired wigs is to enter a world where time has collapsed.\u003c/p>\n\u003cfigure id=\"attachment_12800871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg\" alt=\"Raissa-Simpson's 'Mothership: part 1" at the Black Choreographer's Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raissa-Simpson’s ‘Mothership: part 1″ at the Black Choreographer’s Festival. \u003ccite>(Image courtesy of the festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this utopia, there are strange traces of the past. The dancers perform in droll unity, and yet every once a while a fist is raised, or a dancer tries to break loose, or suddenly flips upside down frozen in a handstand. These moments of individuality are few but striking. They make you realize that the world we’re mired in could suddenly become a memory. Part of the power of Simpson’s work is that she remains neutral on whether that’s a good or bad thing.\u003c/p>\n\u003cp>After two weekends of attending this Festival, I still can’t tell you what a “black choreographer” is, or what defines “black choreography.” The work is just too varied, and at its best, too beautiful to be categorized. What I can say is that in the United States, the black body carries too much actual and symbolic weight. Dance is an an art form often characterized by lightness and speed, and these dances and artists remind us that blackness achieves these qualities at a cost. And that cost comes close to annihilation, but not just yet.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2017 Black Choreographer’s Festival runs through Sunday, Feb. 26 at Dance Mission in San Francisco. For tickets and information \u003ca href=\"http://www.bcfhereandnow.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Dance is an an art form often characterized by lightness and speed, and the work featured at the festival reminds us that blackness achieves these qualities at a cost. ",
"status": "publish",
"parent": 0,
"modified": 1726701350,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1365
},
"headData": {
"title": "Black Choreographers Festival Points to Black Bodies in Crisis | KQED",
"description": "Dance is an an art form often characterized by lightness and speed, and the work featured at the festival reminds us that blackness achieves these qualities at a cost. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Black Choreographers Festival Points to Black Bodies in Crisis",
"datePublished": "2017-02-23T12:00:40-08:00",
"dateModified": "2024-09-18T16:15:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12794413/black-choreographers-festival-points-to-black-bodies-in-crisis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to miss the political implications of this year’s annual \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>. The two programs I’ve witnessed so far in the three-weekend event featured image after image of black bodies in crisis. Though what those bodies want and how those bodies respond is startling and, at times, bracingly elusive.\u003c/p>\n\u003cp>Here are some of the highlights I experienced at the festival, which culminates this weekend at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Marc Bamuthi Joseph’s \u003cem>peh-LO-tah\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marc Bamuthi Joseph performs an excerpt from his dance theater work, \u003cem>peh-LO-tah. \u003c/em>Presented in full at Yerba Buena Center for the Arts last November, the work is a meditation on soccer and trans-African identity. Joseph enters in a hoodie, his body tensed and ready for action — an iconic image dripping with irony and sincerity. After all he’s here to dance, and the action he’s ready for is soccer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a sharp, stinging entrance, freighted with double and triple meanings — an athlete must dominate, elude, and trick, and so must a criminal, and so must a father. And yet, all he’s doing is preparing to practice for a game, though Joseph makes it clear that a black man’s never just doing anything. He is always performing more than himself.\u003c/p>\n\u003cfigure id=\"attachment_12801072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12801072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg\" alt=\"Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his 'pen-LO-tah.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his ‘pen-LO-tah.’ \u003ccite>(Photo: Greg Bridges)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What follows are a series of elaborate and frenetic soccer inflected dances, culminating in a duet with a stationary ball. We can feel Joseph push his body to uncomfortable limits, dancing faster and faster and challenging his ability to remain precise, focused, and within the confines of the game, not to mention his choreography. It’s clear that in many ways, he’s losing his own bet.\u003c/p>\n\u003cp>When Joseph stops dancing, he loosens his body and talks to us about aging and his fears for his son. He wonders what he will pass on. It’s a scene of complete exhaustion and overcoming — of the world, injustice, and the limits of freedom. Here is a body both ready for action and already spent. One might say that Joseph has been overcome with meaning; that blackness — as it’s presently constructed — is Sisyphean, a cultural weight that never ends.\u003c/p>\n\u003cp>\u003cstrong>Gregory Dawson’s \u003cem>plus de véritiés\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elsewhere on the program, Gregory Dawson’s \u003cem>plus de véritiés\u003c/em> shares with Joseph’s work a metaphorical richness. But it’s pitched in a decidedly different key. Here the mode is classical and restrained, though at times unexpectedly explosive. The piece begins in sculptural repose: three slender men in what seem like stylized Speedos stand in a row up and down the stage, side spots wrapping light around them. Even in stillness, they flicker in movement.\u003c/p>\n\u003cfigure id=\"attachment_12800873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg\" alt=\"The intricate nature of Gregory Dawson's choreography is spellbinding.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-768x430.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1020x571.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1180x661.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-960x538.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intricate nature of Gregory Dawson’s choreography is spellbinding.\u003c/figcaption>\u003c/figure>\n\u003cp>When the performers do move, they do so in what one might call an almost unison — the timing is precisely just off. And so what you see, you see again, and again, as if each dancer were locked in his own time frame, and yet also part of the same movement and image. That oscillation between the individual and the group is stunningly rendered. Yet at least as Dawson presents it, you can feel that it’s a source of bitter disappointment.\u003c/p>\n\u003cp>Throughout the piece, dancers fall for no reason. Even when they hold each other up, they somehow reach the ground. It’s a disheartening vision of loss, especially after so many doubled and tripled images. And in the end when the dancers simply walk towards the audience, you hear through the music the muffled voice of James Baldwin mentioning something about love. This makes you wonder how love could be a part of this world. This is beautiful, but it’s not love.\u003c/p>\n\u003cp>The triumph of Dawson’s piece is that it is both absolutely present and mysteriously absent, which might be the signature trick of the evening. In many ways, he eludes the questions that Joseph deals with straight on, and yet neither can escape despair and disappointment. It’s as if it’s built into the system of everyday life, and that we can feel the system subtly and forcefully working its way through the dance — as if all dance were a black choreographer’s nightmare.\u003c/p>\n\u003cp>\u003cstrong>Maurya Kerr’s \u003cem>Fable: three\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Maurya Kerr’s solo piece \u003cem>Fable: three\u003c/em>, sharply danced by Alex Diaz, catches that nightmare and turns it upside down. Here, the black body’s pain and confusion is just the beginning and each assault is countered by an equally forceful attempt to come to rest. Kerr begins with Diaz’s back turned to the audience, stretched, or maybe tensed, to the heavens. And then Alva Noto’s score unleashes a wave of sound upon him and he doubles over in a spasm of hurt.\u003c/p>\n\u003cp>Kerr’s choreography captures piercing pain and the delicate attempts to manage it. Over and over, Diaz pats the air with his hands, as if trying to center or ground himself in a world electric with shock and violence. Or he simply tries to regulate his breathing, a subtle reminder that “I can’t breathe” is more than a phrase, but an absolute threat to life.\u003c/p>\n\u003cp>That the assaults come from everywhere and nowhere is terrifying. Like Noto’s music, they pierce the air around us. And yet the most memorable aspect of Kerr’s piece isn’t the violence that the dancer suffers, but rather his repeated attempts to transcend those attacks and rest — to breathe normally, to gain balance, to remind himself that there is another world and that he might be all right in it.\u003c/p>\n\u003cp>\u003cstrong>Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If escape is a dream in Kerr’s piece, it becomes a strange reality in Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>, an odd mashup of 18th century fashion, sci-fi utopianism, and the pulsing energy of the nightclub. To watch Simpson’s dancers bend over, pause, and then shake their white-haired wigs is to enter a world where time has collapsed.\u003c/p>\n\u003cfigure id=\"attachment_12800871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg\" alt=\"Raissa-Simpson's 'Mothership: part 1" at the Black Choreographer's Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raissa-Simpson’s ‘Mothership: part 1″ at the Black Choreographer’s Festival. \u003ccite>(Image courtesy of the festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this utopia, there are strange traces of the past. The dancers perform in droll unity, and yet every once a while a fist is raised, or a dancer tries to break loose, or suddenly flips upside down frozen in a handstand. These moments of individuality are few but striking. They make you realize that the world we’re mired in could suddenly become a memory. Part of the power of Simpson’s work is that she remains neutral on whether that’s a good or bad thing.\u003c/p>\n\u003cp>After two weekends of attending this Festival, I still can’t tell you what a “black choreographer” is, or what defines “black choreography.” The work is just too varied, and at its best, too beautiful to be categorized. What I can say is that in the United States, the black body carries too much actual and symbolic weight. Dance is an an art form often characterized by lightness and speed, and these dances and artists remind us that blackness achieves these qualities at a cost. And that cost comes close to annihilation, but not just yet.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2017 Black Choreographer’s Festival runs through Sunday, Feb. 26 at Dance Mission in San Francisco. For tickets and information \u003ca href=\"http://www.bcfhereandnow.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12794413/black-choreographers-festival-points-to-black-bodies-in-crisis",
"authors": [
"8668"
],
"categories": [
"arts_966"
],
"tags": [
"arts_1642",
"arts_1119",
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12801070",
"label": "arts"
},
"arts_12777426": {
"type": "posts",
"id": "arts_12777426",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12777426",
"score": null,
"sort": [
1487725716000
]
},
"guestAuthors": [],
"slug": "artist-lynn-hershman-leeson-on-being-discovered-at-75",
"title": "Artist Lynn Hershman Leeson on Being 'Discovered' at 75",
"publishDate": 1487725716,
"format": "standard",
"headTitle": "Artist Lynn Hershman Leeson on Being ‘Discovered’ at 75 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>“Here I am, at 75 years old, and my work is being seen for the first time,” says \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener\">Lynn Hershman Leeson\u003c/a>, whose retrospective \u003ci>\u003ca href=\"https://ybca.org/whats-on/civic-radar\" target=\"_blank\" rel=\"noopener\">Civic Radar\u003c/a>\u003c/i> is currently on view at Yerba Buena Center for the Arts. \u003c/p>\n\u003cp>It marks the first major exhibition of her work in the Bay Area — even though she’s been an established visual artist for more than 50 years, with work in the collections of the Museum of Modern Art, the Los Angeles County Museum of Art, SFMOMA and BAMPFA, to name a few. \u003c/p>\n\u003cp>“It’s sort of like this strange thing of being ‘discovered’ after all these decades of doing work that is, I think, substantial,” Hershman Leeson says. “I think a large part of it is the female factor and the fact that you are not taken seriously, and certainly my generation was left out of a lot of history because of the cultural repression and eradication, and really, rejection, of anything that came from people of my gender.”\u003c/p>\n\u003cfigure id=\"attachment_12799032\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200.jpg\" alt=\"Lynn Hershman Leeson, 'Lorna,' 1984. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017.\" width=\"1200\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-960x552.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-520x299.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Lorna,’ 1984. Installation view of ‘Lynn Hershman Leeson: Civic Radar,’ Yerba Buena Center for the Arts, 2017. \u003ccite>(Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco-based artist is known for her transgressive, intimate artwork exploring the limits of femininity, the experience of agoraphobia and weaponized surveillance of women. She pioneered sound works as art in the 1960s with her “breathing machines,” and created one of the first artificial intelligence bots, predating Apple’s Siri by 12 years. Artists Sophie Calle and Cindy Sherman are among those influenced by Hershman Leeson’s work. In 2016, she was named a \u003ca href=\"http://www.unitedstatesartists.org/fellows/2016/lynn-hershman-leeson\" target=\"_blank\" rel=\"noopener\">USA Smith Fellow\u003c/a> for her work in media. \u003c/p>\n\u003cp>Yet for all of her innovations and acknowledgments in the art world, from 1993 to 2015 Hershman Leeson was neither written about nor had her work reviewed in a Bay Area publication.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wrote letters to Kenneth Baker [at the \u003cem>San Francisco Chronicle\u003c/em>] and to the critic before that, about how I felt that when you’re invisible it’s like a type of cultural murder,” she says. “When people won’t admit that you’re doing work that has been proved to be significant, and to be continually omitted, was such a difficult thing.”\u003c/p>\n\u003cfigure id=\"attachment_12799031\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100.jpg\" alt=\"Lynn Hershman Leeson, 'The Infinity Engine,' 2014–17. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017. \" width=\"1200\" height=\"839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-520x364.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘The Infinity Engine,’ 2014–17. Installation view of ‘Lynn Hershman Leeson: Civic Radar,’ Yerba Buena Center for the Arts, 2017. \u003ccite>(Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hershman Leeson’s omission from Bay Area art writing is poignant, a reflection of the exact kind of misogyny her work confronts. And though the work she created for \u003cem>Civic Radar\u003c/em> spans five decades, her art speaks to our exact cultural moment in 2017.\u003c/p>\n\u003cp>“I’ve always been interested in the edge of reality,” she says. “And it seems to me that once you could imagine something, it could be true. So where does reality end and fiction begin?”\u003c/p>\n\u003cp>Hershman Leeson is describing the \u003cem>\u003ca href=\"http://www.lynnhershman.com/project/roberta-breitmore/\" target=\"_blank\" rel=\"noopener\">Roberta Breitmore Project\u003c/a>\u003c/em> — a series that is part comic book, part video installation work and part sculpture — which tells the story of a fictional woman, played by Hershman Leeson, who suffers through rape and abuse.\u003c/p>\n\u003cfigure id=\"attachment_12799033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200.jpg\" alt=\"Lynn Hershman Leeson, 'Roberta Breitmore series,' 1973–78. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Roberta Breitmore series,’ 1973–78. Installation view of ‘Lynn Hershman Leeson: Civic Radar,’ Yerba Buena Center for the Arts, 2017. \u003ccite>(Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We assume that she’s a living person, but she’s really a fiction,” Hershman Leeson says, “so everything that happened to her, is it a cultural fiction or is it something that can be used as an archetype of what can be drawn from any person living in that time?”\u003c/p>\n\u003cp>Is it a cultural fiction? This type of question is particularly prescient in a time of alternative facts and government-constructed alternative realities. The \u003cem>Roberta Breitmore Project\u003c/em> plays with the insecurity and uneasiness of not knowing what’s real or what isn’t.\u003c/p>\n\u003cfigure id=\"attachment_12799035\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2.jpg\" alt=\"'Robertas' during the opening of 'Lynne Hershman Leeson: Civic Radar.'\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-520x390.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">‘Robertas’ during the opening of ‘Lynne Hershman Leeson: Civic Radar.’ \u003ccite>(Photo by Michelle Threadgould)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the opening of \u003cem>Civic Radar\u003c/em>, young men dressed in drag as Roberta Breitmore wandered through the exhibition with her signature aloofness and discomfort, aliens inside the art world. Nearly 40 years after Hershman Leeson originally ended the \u003ci>Roberta Breitmore Project\u003c/i>, did these modern-day Robertas now belong in the world, or were they still out of place?\u003c/p>\n\u003cp>\u003cem>Civic Radar\u003c/em> shows the scope, breadth and influence of Hershman Leeson’s work. With video installation pieces like \u003cem>Room of One’s Own\u003c/em>, which allow you to spy on a fictional character trapped in a room while you are being videotaped and projected into the piece, her work complicates the roles of viewer versus participant, spy versus spied upon, and the freeing versus constricting nature of technology.\u003c/p>\n\u003cp>In this impressive body of work, Hershman Leeson creates a space for herself and fellow female artists to confront the art world and reveal the truth: you can’t afford to omit me 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=\"Q.Logo.Break\" 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>Lynn Hershman Leeson’s \u003cb>Civic Radar\u003c/b> is on view at San Francisco’s Yerba Buena Center for the Arts through May 21, 2017. For more information, visit \u003ca href=\"https://ybca.org/whats-on/civic-radar\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The media artist was written out of history for decades, but a retrospective of transgressive, intimate artwork at YBCA proves her continued cultural relevance.",
"status": "publish",
"parent": 0,
"modified": 1726770943,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 931
},
"headData": {
"title": "Artist Lynn Hershman Leeson on Being 'Discovered' at 75 | KQED",
"description": "The media artist was written out of history for decades, but a retrospective of transgressive, intimate artwork at YBCA proves her continued cultural relevance.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Artist Lynn Hershman Leeson on Being 'Discovered' at 75",
"datePublished": "2017-02-21T17:08:36-08:00",
"dateModified": "2024-09-19T11:35:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Michelle Threadgould",
"path": "/arts/12777426/artist-lynn-hershman-leeson-on-being-discovered-at-75",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Here I am, at 75 years old, and my work is being seen for the first time,” says \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener\">Lynn Hershman Leeson\u003c/a>, whose retrospective \u003ci>\u003ca href=\"https://ybca.org/whats-on/civic-radar\" target=\"_blank\" rel=\"noopener\">Civic Radar\u003c/a>\u003c/i> is currently on view at Yerba Buena Center for the Arts. \u003c/p>\n\u003cp>It marks the first major exhibition of her work in the Bay Area — even though she’s been an established visual artist for more than 50 years, with work in the collections of the Museum of Modern Art, the Los Angeles County Museum of Art, SFMOMA and BAMPFA, to name a few. \u003c/p>\n\u003cp>“It’s sort of like this strange thing of being ‘discovered’ after all these decades of doing work that is, I think, substantial,” Hershman Leeson says. “I think a large part of it is the female factor and the fact that you are not taken seriously, and certainly my generation was left out of a lot of history because of the cultural repression and eradication, and really, rejection, of anything that came from people of my gender.”\u003c/p>\n\u003cfigure id=\"attachment_12799032\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200.jpg\" alt=\"Lynn Hershman Leeson, 'Lorna,' 1984. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017.\" width=\"1200\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-960x552.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_Lorna1200-520x299.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Lorna,’ 1984. Installation view of ‘Lynn Hershman Leeson: Civic Radar,’ Yerba Buena Center for the Arts, 2017. \u003ccite>(Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco-based artist is known for her transgressive, intimate artwork exploring the limits of femininity, the experience of agoraphobia and weaponized surveillance of women. She pioneered sound works as art in the 1960s with her “breathing machines,” and created one of the first artificial intelligence bots, predating Apple’s Siri by 12 years. Artists Sophie Calle and Cindy Sherman are among those influenced by Hershman Leeson’s work. In 2016, she was named a \u003ca href=\"http://www.unitedstatesartists.org/fellows/2016/lynn-hershman-leeson\" target=\"_blank\" rel=\"noopener\">USA Smith Fellow\u003c/a> for her work in media. \u003c/p>\n\u003cp>Yet for all of her innovations and acknowledgments in the art world, from 1993 to 2015 Hershman Leeson was neither written about nor had her work reviewed in a Bay Area publication.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wrote letters to Kenneth Baker [at the \u003cem>San Francisco Chronicle\u003c/em>] and to the critic before that, about how I felt that when you’re invisible it’s like a type of cultural murder,” she says. “When people won’t admit that you’re doing work that has been proved to be significant, and to be continually omitted, was such a difficult thing.”\u003c/p>\n\u003cfigure id=\"attachment_12799031\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100.jpg\" alt=\"Lynn Hershman Leeson, 'The Infinity Engine,' 2014–17. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017. \" width=\"1200\" height=\"839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_InfinityEngineLargeGraphic100-520x364.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘The Infinity Engine,’ 2014–17. Installation view of ‘Lynn Hershman Leeson: Civic Radar,’ Yerba Buena Center for the Arts, 2017. \u003ccite>(Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hershman Leeson’s omission from Bay Area art writing is poignant, a reflection of the exact kind of misogyny her work confronts. And though the work she created for \u003cem>Civic Radar\u003c/em> spans five decades, her art speaks to our exact cultural moment in 2017.\u003c/p>\n\u003cp>“I’ve always been interested in the edge of reality,” she says. “And it seems to me that once you could imagine something, it could be true. So where does reality end and fiction begin?”\u003c/p>\n\u003cp>Hershman Leeson is describing the \u003cem>\u003ca href=\"http://www.lynnhershman.com/project/roberta-breitmore/\" target=\"_blank\" rel=\"noopener\">Roberta Breitmore Project\u003c/a>\u003c/em> — a series that is part comic book, part video installation work and part sculpture — which tells the story of a fictional woman, played by Hershman Leeson, who suffers through rape and abuse.\u003c/p>\n\u003cfigure id=\"attachment_12799033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200.jpg\" alt=\"Lynn Hershman Leeson, 'Roberta Breitmore series,' 1973–78. Installation view of 'Lynn Hershman Leeson: Civic Radar,' Yerba Buena Center for the Arts, 2017.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCA_RobertaOverview1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Roberta Breitmore series,’ 1973–78. Installation view of ‘Lynn Hershman Leeson: Civic Radar,’ Yerba Buena Center for the Arts, 2017. \u003ccite>(Photo by John Foster Cartwright; Courtesy Yerba Buena Center for the Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We assume that she’s a living person, but she’s really a fiction,” Hershman Leeson says, “so everything that happened to her, is it a cultural fiction or is it something that can be used as an archetype of what can be drawn from any person living in that time?”\u003c/p>\n\u003cp>Is it a cultural fiction? This type of question is particularly prescient in a time of alternative facts and government-constructed alternative realities. The \u003cem>Roberta Breitmore Project\u003c/em> plays with the insecurity and uneasiness of not knowing what’s real or what isn’t.\u003c/p>\n\u003cfigure id=\"attachment_12799035\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12799035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2.jpg\" alt=\"'Robertas' during the opening of 'Lynne Hershman Leeson: Civic Radar.'\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/YBCAOpeningRobertas2-520x390.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">‘Robertas’ during the opening of ‘Lynne Hershman Leeson: Civic Radar.’ \u003ccite>(Photo by Michelle Threadgould)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the opening of \u003cem>Civic Radar\u003c/em>, young men dressed in drag as Roberta Breitmore wandered through the exhibition with her signature aloofness and discomfort, aliens inside the art world. Nearly 40 years after Hershman Leeson originally ended the \u003ci>Roberta Breitmore Project\u003c/i>, did these modern-day Robertas now belong in the world, or were they still out of place?\u003c/p>\n\u003cp>\u003cem>Civic Radar\u003c/em> shows the scope, breadth and influence of Hershman Leeson’s work. With video installation pieces like \u003cem>Room of One’s Own\u003c/em>, which allow you to spy on a fictional character trapped in a room while you are being videotaped and projected into the piece, her work complicates the roles of viewer versus participant, spy versus spied upon, and the freeing versus constricting nature of technology.\u003c/p>\n\u003cp>In this impressive body of work, Hershman Leeson creates a space for herself and fellow female artists to confront the art world and reveal the truth: you can’t afford to omit me 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=\"Q.Logo.Break\" 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>Lynn Hershman Leeson’s \u003cb>Civic Radar\u003c/b> is on view at San Francisco’s Yerba Buena Center for the Arts through May 21, 2017. For more information, visit \u003ca href=\"https://ybca.org/whats-on/civic-radar\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12777426/artist-lynn-hershman-leeson-on-being-discovered-at-75",
"authors": [
"byline_arts_12777426"
],
"programs": [
"arts_140"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_1334"
],
"featImg": "arts_12799030",
"label": "arts_140"
},
"arts_12794217": {
"type": "posts",
"id": "arts_12794217",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12794217",
"score": null,
"sort": [
1487692830000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1487692830,
"format": "standard",
"title": "Kristina Lewis Gets ‘Heavy’ at Oakland's Sweeney Kaye",
"headTitle": "Kristina Lewis Gets ‘Heavy’ at Oakland’s Sweeney Kaye | KQED",
"content": "\u003cp>While commercial galleries flock to San Francisco’s Dogpatch and Bayview neighborhoods for ever-larger exhibition spaces, inside \u003ca href=\"http://macarthurannex.com/\" target=\"_blank\" rel=\"noopener\">a new office and small business compound\u003c/a> one block from Oakland’s MacArthur BART station, \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">Sweeney Kaye\u003c/a> proves a shipping container might be all the room you need.\u003c/p>\n\u003cp>San Francisco-based artist \u003ca href=\"http://www.kristinalewis.com/\" target=\"_blank\" rel=\"noopener\">Kristina Lewis\u003c/a>’ current solo show, \u003ci>Heavy Foam\u003c/i>, consists of just nine sculptures on sleek white shelves and six framed prints hung opposite them. The sculptures may look familiar. Each brightly colored, slightly textured form is culled from an assortment of packing foam, their shapes and contours determined by the objects that foam used to protect.\u003c/p>\n\u003cfigure id=\"attachment_12794219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg\" alt=\"Left: Kristina Lewis, 'Hard Slab in Dome, No. 2,' 2017. Hydrocal, fiberglass, pigment, epoxy clay, polymer varnish; Right: Kristina Lewis, 'Void on Hard Waves,' 2017. Papier-mâché, pigment, polymer varnish.\" width=\"1200\" height=\"885\" class=\"size-full wp-image-12794219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kristina Lewis, ‘Hard Slab in Dome, No. 2,’ 2017. Hydrocal, fiberglass, pigment,\u003cbr>epoxy clay, polymer varnish; Right: Kristina Lewis, ‘Void on Hard Waves,’ 2017. Papier-mâché, pigment,\u003cbr>polymer varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The interplay between positive and negative space is further compounded by the fact that Lewis’ sculptures are all cast objects, made with an impressive list of materials: hydrocal, fiberglass, papier-mâché, epoxy clay, polymer varnish. Titles like \u003ci>Double Heavy, Full of Holes\u003c/i> and \u003ci>Void on Hard Waves\u003c/i> further hint at the heft of these once lightweight forms. It’s hard to contain the desire to test their solidity.\u003c/p>\n\u003cp>Across the shipping container a series of archival pigment prints shed the sculpture’s playful colors to focus on positive and negative spaces against a black background. Removed from their original packaging and flattened into just two dimensions, the silhouettes in the prints become abstract units of composition. Lewis seems to enjoy symmetrical arrangements and jaunty angles. \u003c/p>\n\u003cfigure id=\"attachment_12794220\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg\" alt=\"Kristina Lewis, 'Heavy Listening, Three Movements,' 2017. Polyurethane, atomized brass, varnish.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12794220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Lewis, ‘Heavy Listening, Three Movements,’ 2017. Polyurethane, atomized brass, varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis’ show is the first in a year of all women artists, a fact gallery owner Andrew Berg is proud to point out. Sweeney Kaye is Berg’s first foray into exhibiting artists, but he’s also the owner of the frame shop \u003ca href=\"https://www.instagram.com/small.works.sf/\" target=\"_blank\" rel=\"noopener\">Small Works SF\u003c/a>, which helps explain the meticulous presentation of Lewis’ works. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If cavernous warehouse spaces have you reaching for the extra layer you carry around like a good Bay Area denizen, add Sweeney Kaye to your Temescal art-viewing loop (with equally cozy \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface\u003c/a> and \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Royal NoneSuch Gallery\u003c/a>) and enjoy getting up close and personal with Lewis’ \u003ci>Heavy Foam\u003c/i>. Just keep your hands in your pockets. \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=\"Q.Logo.Break\" 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>\u003cb>Heavy Foam\u003c/b> is on view inside 644 40th Street, Oakland through March 1, Sundays 12-5pm and by appointment. For more information visit \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">instagram.com/sweeneykaye\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 446,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705031490,
"excerpt": "Trade cavernous warehouses for a more intimate art viewing experience in a converted shipping container. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Trade cavernous warehouses for a more intimate art viewing experience in a converted shipping container. ",
"title": "Kristina Lewis Gets ‘Heavy’ at Oakland's Sweeney Kaye | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kristina Lewis Gets ‘Heavy’ at Oakland's Sweeney Kaye",
"datePublished": "2017-02-21T08:00:30-08:00",
"dateModified": "2024-01-11T19:51:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kristina-lewis-gets-heavy-at-oaklands-sweeney-kaye",
"status": "publish",
"sticky": false,
"path": "/arts/12794217/kristina-lewis-gets-heavy-at-oaklands-sweeney-kaye",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While commercial galleries flock to San Francisco’s Dogpatch and Bayview neighborhoods for ever-larger exhibition spaces, inside \u003ca href=\"http://macarthurannex.com/\" target=\"_blank\" rel=\"noopener\">a new office and small business compound\u003c/a> one block from Oakland’s MacArthur BART station, \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">Sweeney Kaye\u003c/a> proves a shipping container might be all the room you need.\u003c/p>\n\u003cp>San Francisco-based artist \u003ca href=\"http://www.kristinalewis.com/\" target=\"_blank\" rel=\"noopener\">Kristina Lewis\u003c/a>’ current solo show, \u003ci>Heavy Foam\u003c/i>, consists of just nine sculptures on sleek white shelves and six framed prints hung opposite them. The sculptures may look familiar. Each brightly colored, slightly textured form is culled from an assortment of packing foam, their shapes and contours determined by the objects that foam used to protect.\u003c/p>\n\u003cfigure id=\"attachment_12794219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg\" alt=\"Left: Kristina Lewis, 'Hard Slab in Dome, No. 2,' 2017. Hydrocal, fiberglass, pigment, epoxy clay, polymer varnish; Right: Kristina Lewis, 'Void on Hard Waves,' 2017. Papier-mâché, pigment, polymer varnish.\" width=\"1200\" height=\"885\" class=\"size-full wp-image-12794219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kristina Lewis, ‘Hard Slab in Dome, No. 2,’ 2017. Hydrocal, fiberglass, pigment,\u003cbr>epoxy clay, polymer varnish; Right: Kristina Lewis, ‘Void on Hard Waves,’ 2017. Papier-mâché, pigment,\u003cbr>polymer varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The interplay between positive and negative space is further compounded by the fact that Lewis’ sculptures are all cast objects, made with an impressive list of materials: hydrocal, fiberglass, papier-mâché, epoxy clay, polymer varnish. Titles like \u003ci>Double Heavy, Full of Holes\u003c/i> and \u003ci>Void on Hard Waves\u003c/i> further hint at the heft of these once lightweight forms. It’s hard to contain the desire to test their solidity.\u003c/p>\n\u003cp>Across the shipping container a series of archival pigment prints shed the sculpture’s playful colors to focus on positive and negative spaces against a black background. Removed from their original packaging and flattened into just two dimensions, the silhouettes in the prints become abstract units of composition. Lewis seems to enjoy symmetrical arrangements and jaunty angles. \u003c/p>\n\u003cfigure id=\"attachment_12794220\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg\" alt=\"Kristina Lewis, 'Heavy Listening, Three Movements,' 2017. Polyurethane, atomized brass, varnish.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12794220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Lewis, ‘Heavy Listening, Three Movements,’ 2017. Polyurethane, atomized brass, varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis’ show is the first in a year of all women artists, a fact gallery owner Andrew Berg is proud to point out. Sweeney Kaye is Berg’s first foray into exhibiting artists, but he’s also the owner of the frame shop \u003ca href=\"https://www.instagram.com/small.works.sf/\" target=\"_blank\" rel=\"noopener\">Small Works SF\u003c/a>, which helps explain the meticulous presentation of Lewis’ works. \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>If cavernous warehouse spaces have you reaching for the extra layer you carry around like a good Bay Area denizen, add Sweeney Kaye to your Temescal art-viewing loop (with equally cozy \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface\u003c/a> and \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Royal NoneSuch Gallery\u003c/a>) and enjoy getting up close and personal with Lewis’ \u003ci>Heavy Foam\u003c/i>. Just keep your hands in your pockets. \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=\"Q.Logo.Break\" 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>\u003cb>Heavy Foam\u003c/b> is on view inside 644 40th Street, Oakland through March 1, Sundays 12-5pm and by appointment. For more information visit \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">instagram.com/sweeneykaye\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12794217/kristina-lewis-gets-heavy-at-oaklands-sweeney-kaye",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_1334"
],
"featImg": "arts_12794218",
"label": "arts_140"
},
"arts_12777428": {
"type": "posts",
"id": "arts_12777428",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12777428",
"score": null,
"sort": [
1487347231000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1487347231,
"format": "standard",
"title": "'The Great Wall' Isn't, Particularly",
"headTitle": "‘The Great Wall’ Isn’t, Particularly | KQED",
"content": "\u003cp>Opening a few miles from its namesake, \u003cem>The Great Wall\u003c/em> introduces a group of European knaves who have somehow trekked to northwestern China during the Song Dynasty (960-1279). Most prominent among these thieves and mercenaries is William (Matt Damon), who’s supposed to be British, although the actor doesn’t further burden his stiff line readings with a feigned brogue. The outlanders’ goal is to acquire some gunpowder, a Chinese invention with solid commercial prospects in war-happy Europe.\u003c/p>\n\u003cp>All the other rascals except Tovar (Chilean actor Pedro Pascal) are quickly dispatched. While being chased, the last two interlopers find their path blocked by that big wall and the troops that protect China from the menaces on the north side of the barrier. There are hundreds of color-coordinated warriors, but the important ones are strategist Wang (Hong Kong cinema lifer Andy Lau) and battalion commander Lin (Jing Tian, soon to be seen in \u003cem>Kong: Skull Island\u003c/em>).\u003c/p>\n\u003cp>https://youtu.be/avF6GHyyk5c\u003c/p>\n\u003cp>A lithe if blank beauty in skin-tight battle togs, Lin seems to have hatched not from Chinese lore but from Japanese anime. That’s appropriate, since she and her cohorts defend China’s capital from the Taotie, ravenous reptilian monsters with a strong family resemblance to Godzilla. (They also have zombie tendencies, and among the many credited writers — all Westerners — is \u003cem>World War Z\u003c/em> author Max Brooks.)\u003c/p>\n\u003cp>This scenario may make \u003cem>The Great Wall\u003c/em> sound entertainingly demented, but as so-nuts-it’s-good spectacle, the movie disappoints. It’s bonkers in theory, but prosaic in execution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The monsters attack every 60 years, and are “evolving” intelligence at a rate that could make Darwinists reconsider the great man’s theory. Led by their queen, the Taotie intend to breach the wall, attack the capital, and eat the boy emperor and everyone else. By comparison, the Cultural Revolution was a paper cut.\u003c/p>\n\u003cp>Most of the movie is devoted to quick-cut combat and creepy-monster mayhem. Occasionally, the rhythm slows so that Lin can teach William the Chinese virtues of cooperation and self-sacrifice. The lessons transform him, but prove less persuasive to Tovar and another English-speaking rogue who arrived earlier (Willem Dafoe). Those two scurry off to initiate a subplot while arrows fly, spears puncture, and red and green blood gushes.\u003c/p>\n\u003cp>Originally assigned to Edward Zwick, the film was ultimately directed by Zhang Yimou, but it’s not a testament to his skill or sensibility. Zhang has balanced spectacle and social conscience in such powerful dramas as \u003cem>Raise the Red Lantern\u003c/em> and staged dazzling action in fanciful romps such as \u003cem>House of Flying Daggers\u003c/em>. This movie feels closer to a more nationalistic Zhang production: the opening and closing ceremonies of the 2008 Beijing Olympics.\u003c/p>\n\u003cp>The director punctuates the warfare with pageantry: drum troupes, choreographed mass movements, and the release of thousands of airborne lanterns. Sometimes it seems that the Taotie, rather than scramble across the landscape with their jaws open, should march in orderly columns, wearing matching team jackets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the stagiest sequences are visually impressive, much of the movie is not. The 3D images feature lots of camera swoops and ostentatious closeups, and are sometimes as low-def as a holographic ring from a 1960s gumball machine. No one could have expected \u003cem>The Great Wall\u003c/em> to make sense, but that it doesn’t look very good is a nastier surprise than any shock cut of a looming mini-Godzilla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 601,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705031514,
"excerpt": "This visually impressive, narratively muddy, pseudo-historic monster movie disappoints. \"It's bonkers in theory, but prosaic in execution,\" says critic Mark Jenkins.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This visually impressive, narratively muddy, pseudo-historic monster movie disappoints. "It's bonkers in theory, but prosaic in execution," says critic Mark Jenkins.",
"title": "'The Great Wall' Isn't, Particularly | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Great Wall' Isn't, Particularly",
"datePublished": "2017-02-17T08:00:31-08:00",
"dateModified": "2024-01-11T19:51:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-great-wall-isnt-particularly",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=514495600&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 16 Feb 2017 17:00:18 -0500",
"nprLastModifiedDate": "Thu, 16 Feb 2017 17:00:18 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/02/16/514495600/the-great-wall-isnt-particularly?ft=nprml&f=514495600",
"nprImageAgency": "Universal Pictures",
"nprImageCredit": "Jasin Boland ",
"nprStoryId": "514495600",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 16 Feb 2017 17:00:00 -0500",
"path": "/arts/12777428/the-great-wall-isnt-particularly",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening a few miles from its namesake, \u003cem>The Great Wall\u003c/em> introduces a group of European knaves who have somehow trekked to northwestern China during the Song Dynasty (960-1279). Most prominent among these thieves and mercenaries is William (Matt Damon), who’s supposed to be British, although the actor doesn’t further burden his stiff line readings with a feigned brogue. The outlanders’ goal is to acquire some gunpowder, a Chinese invention with solid commercial prospects in war-happy Europe.\u003c/p>\n\u003cp>All the other rascals except Tovar (Chilean actor Pedro Pascal) are quickly dispatched. While being chased, the last two interlopers find their path blocked by that big wall and the troops that protect China from the menaces on the north side of the barrier. There are hundreds of color-coordinated warriors, but the important ones are strategist Wang (Hong Kong cinema lifer Andy Lau) and battalion commander Lin (Jing Tian, soon to be seen in \u003cem>Kong: Skull Island\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/avF6GHyyk5c'\n title='//www.youtube.com/embed/avF6GHyyk5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A lithe if blank beauty in skin-tight battle togs, Lin seems to have hatched not from Chinese lore but from Japanese anime. That’s appropriate, since she and her cohorts defend China’s capital from the Taotie, ravenous reptilian monsters with a strong family resemblance to Godzilla. (They also have zombie tendencies, and among the many credited writers — all Westerners — is \u003cem>World War Z\u003c/em> author Max Brooks.)\u003c/p>\n\u003cp>This scenario may make \u003cem>The Great Wall\u003c/em> sound entertainingly demented, but as so-nuts-it’s-good spectacle, the movie disappoints. It’s bonkers in theory, but prosaic in execution.\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 monsters attack every 60 years, and are “evolving” intelligence at a rate that could make Darwinists reconsider the great man’s theory. Led by their queen, the Taotie intend to breach the wall, attack the capital, and eat the boy emperor and everyone else. By comparison, the Cultural Revolution was a paper cut.\u003c/p>\n\u003cp>Most of the movie is devoted to quick-cut combat and creepy-monster mayhem. Occasionally, the rhythm slows so that Lin can teach William the Chinese virtues of cooperation and self-sacrifice. The lessons transform him, but prove less persuasive to Tovar and another English-speaking rogue who arrived earlier (Willem Dafoe). Those two scurry off to initiate a subplot while arrows fly, spears puncture, and red and green blood gushes.\u003c/p>\n\u003cp>Originally assigned to Edward Zwick, the film was ultimately directed by Zhang Yimou, but it’s not a testament to his skill or sensibility. Zhang has balanced spectacle and social conscience in such powerful dramas as \u003cem>Raise the Red Lantern\u003c/em> and staged dazzling action in fanciful romps such as \u003cem>House of Flying Daggers\u003c/em>. This movie feels closer to a more nationalistic Zhang production: the opening and closing ceremonies of the 2008 Beijing Olympics.\u003c/p>\n\u003cp>The director punctuates the warfare with pageantry: drum troupes, choreographed mass movements, and the release of thousands of airborne lanterns. Sometimes it seems that the Taotie, rather than scramble across the landscape with their jaws open, should march in orderly columns, wearing matching team jackets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the stagiest sequences are visually impressive, much of the movie is not. The 3D images feature lots of camera swoops and ostentatious closeups, and are sometimes as low-def as a holographic ring from a 1960s gumball machine. No one could have expected \u003cem>The Great Wall\u003c/em> to make sense, but that it doesn’t look very good is a nastier surprise than any shock cut of a looming mini-Godzilla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12777428/the-great-wall-isnt-particularly",
"authors": [
"byline_arts_12777428"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12777429",
"label": "arts_137"
},
"arts_12742356": {
"type": "posts",
"id": "arts_12742356",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12742356",
"score": null,
"sort": [
1487088001000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1487088001,
"format": "standard",
"title": "'The Christians' Isn't so Much a Play as a Strange, Brilliant Sermon",
"headTitle": "‘The Christians’ Isn’t so Much a Play as a Strange, Brilliant Sermon | KQED",
"content": "\u003cp>Lucas Hnath’s \u003cem>The Christians\u003c/em>, receiving its Bay Area premiere in a fine production under Bill English’s direction at \u003ca href=\"http://sfplayhouse.org/sfph/2016-2017-season/the-christians/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, starts with what seems to be a simple story. When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?\u003c/p>\n\u003cp>Pastor Paul thinks he knows what his flock thinks, and what Christians think more generally. He would like them to think otherwise — that this heroic young Muslim will not be going to hell but instead to heaven. And so in the sermon that opens the play, Paul cannily works the story into a larger one about the congregation’s financial status, the first time Paul met his wife, and the need for radical change.\u003c/p>\n\u003cp>We know that Paul is manipulating his congregants, that the way he constructs his sermon is designed to catch people off guard. His techniques include subtle threats (“There is a crack in the foundation of this church”), a subtle eroticism (“I have a powerful urge to communicate with you”), and declarations of strength (“We are no longer that kind of church”).\u003c/p>\n\u003cfigure id=\"attachment_12742366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12742366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg\" alt=\"(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet we overlook Paul’s machinations. After all, what he’s preaching is what we should believe: that all souls are equal, that goodness matters, and that it would be a sick injustice to entertain for even a moment that such a heroic young man should go to hell for simply not finding Christ. In a just world, Christ should find him.\u003c/p>\n\u003cp>One of the chief pleasures of \u003cem>The Christians\u003c/em> is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service. There’s a full choir; an associate pastor, Joshua; a church elder, Jay; and Paul’s wife Elizabeth who leads a women’s bible study group. As in many churches, these leaders sit in a row before us and take their turns performing various aspects of the liturgy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What we know of the past is set up by Paul’s simple and direct narration of events: “And Brother Joshua says,” “And Elder Jay walks into my office,” “And I look at my wife and say.” And then those scenes are reenacted, not realistically, but as they might be in a church service — kind of stilted, not quite dramatic, and with microphones. It’s a curiously moving effect, as if everyone is trying to contain the emotion that amplification threatens to unleash.\u003c/p>\n\u003cfigure id=\"attachment_12742364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742364 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg\" alt=\"(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>The Christians\u003c/em> is filled with scenes of high drama, its form and presentation — ably supported by a slew of excellent, understated performances — are low-key. Paul’s belief that his church must undergo a radical change roils everyone around him, and yet the proceedings remain polite and curiously distant. Hnath catches the way the rituals and temperament of the suburban Protestant Church demand a decency of spirit even when caught in the midst of overwhelming emotion.\u003c/p>\n\u003cp>Scenes that would normally descend into the melodramatic take on a complexity and richness that’s disconcerting. Associate pastor Joshua would be a classic villain in most American plays. He’s a moral scold, ambitious, and needlessly confrontational. And worse, his reaction to Paul’s sermon about the Muslim boy who dies saving his little sister, is that the boy will go to hell. Yet his belief in hell guides him to behave in ways that are truly exemplary.\u003c/p>\n\u003cp>The play ends with the possible dissolution of Paul and Elizabeth’s marriage, as they debate over the nature of Christ’s salvation. She too, like Joshua, refuses to give up on hell. It’s ludicrous to watch two people fight while carefully speaking into microphones and pretending to have a private conversation. But the aesthetic awkwardness is freeing.\u003c/p>\n\u003cfigure id=\"attachment_12742363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg\" alt=\"Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We aren’t watching a couple argue, but rather a careful reconstruction of that argument as an expression of ritual and faith. And because of this, we listen with great care and follow a set of conventions that aren’t so much dramatic, as they are about what it means to believe. These are people for whom Christ’s love and demands are real and so their personal drama is always at a remove. The real action is how to live in the face of such stringent and beautiful beliefs.\u003c/p>\n\u003cp>That’s a shocking achievement, and for this alone, \u003cem>The Christians\u003c/em> is worthy of our attention. It’s an impressive play all the way to the end — and then for some reason Hnath doesn’t finish the job. We never get to the end of the service and formal closure. What happens to Pastor Paul doesn’t matter, but the completion of the ritual does. Without that lens, the play’s ending feels like a rejection of everything the playwright has accomplished up to then. And I guess my most damning critique is that in its concluding moments, \u003cem>The Christians\u003c/em> feels like a play.\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=\"Q.Logo.Break\" 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>‘The Christians’ runs through Saturday, Mar. 11 at SF Playhouse in San Francisco. For tickets and information \u003ca href=\"https://sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1060,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705031558,
"excerpt": "When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?",
"title": "'The Christians' Isn't so Much a Play as a Strange, Brilliant Sermon | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Christians' Isn't so Much a Play as a Strange, Brilliant Sermon",
"datePublished": "2017-02-14T08:00:01-08:00",
"dateModified": "2024-01-11T19:52:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-christians-isnt-so-much-a-play-as-a-strange-brilliant-sermon",
"status": "publish",
"sticky": false,
"path": "/arts/12742356/the-christians-isnt-so-much-a-play-as-a-strange-brilliant-sermon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucas Hnath’s \u003cem>The Christians\u003c/em>, receiving its Bay Area premiere in a fine production under Bill English’s direction at \u003ca href=\"http://sfplayhouse.org/sfph/2016-2017-season/the-christians/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, starts with what seems to be a simple story. When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?\u003c/p>\n\u003cp>Pastor Paul thinks he knows what his flock thinks, and what Christians think more generally. He would like them to think otherwise — that this heroic young Muslim will not be going to hell but instead to heaven. And so in the sermon that opens the play, Paul cannily works the story into a larger one about the congregation’s financial status, the first time Paul met his wife, and the need for radical change.\u003c/p>\n\u003cp>We know that Paul is manipulating his congregants, that the way he constructs his sermon is designed to catch people off guard. His techniques include subtle threats (“There is a crack in the foundation of this church”), a subtle eroticism (“I have a powerful urge to communicate with you”), and declarations of strength (“We are no longer that kind of church”).\u003c/p>\n\u003cfigure id=\"attachment_12742366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12742366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg\" alt=\"(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet we overlook Paul’s machinations. After all, what he’s preaching is what we should believe: that all souls are equal, that goodness matters, and that it would be a sick injustice to entertain for even a moment that such a heroic young man should go to hell for simply not finding Christ. In a just world, Christ should find him.\u003c/p>\n\u003cp>One of the chief pleasures of \u003cem>The Christians\u003c/em> is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service. There’s a full choir; an associate pastor, Joshua; a church elder, Jay; and Paul’s wife Elizabeth who leads a women’s bible study group. As in many churches, these leaders sit in a row before us and take their turns performing various aspects of the liturgy.\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>What we know of the past is set up by Paul’s simple and direct narration of events: “And Brother Joshua says,” “And Elder Jay walks into my office,” “And I look at my wife and say.” And then those scenes are reenacted, not realistically, but as they might be in a church service — kind of stilted, not quite dramatic, and with microphones. It’s a curiously moving effect, as if everyone is trying to contain the emotion that amplification threatens to unleash.\u003c/p>\n\u003cfigure id=\"attachment_12742364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742364 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg\" alt=\"(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>The Christians\u003c/em> is filled with scenes of high drama, its form and presentation — ably supported by a slew of excellent, understated performances — are low-key. Paul’s belief that his church must undergo a radical change roils everyone around him, and yet the proceedings remain polite and curiously distant. Hnath catches the way the rituals and temperament of the suburban Protestant Church demand a decency of spirit even when caught in the midst of overwhelming emotion.\u003c/p>\n\u003cp>Scenes that would normally descend into the melodramatic take on a complexity and richness that’s disconcerting. Associate pastor Joshua would be a classic villain in most American plays. He’s a moral scold, ambitious, and needlessly confrontational. And worse, his reaction to Paul’s sermon about the Muslim boy who dies saving his little sister, is that the boy will go to hell. Yet his belief in hell guides him to behave in ways that are truly exemplary.\u003c/p>\n\u003cp>The play ends with the possible dissolution of Paul and Elizabeth’s marriage, as they debate over the nature of Christ’s salvation. She too, like Joshua, refuses to give up on hell. It’s ludicrous to watch two people fight while carefully speaking into microphones and pretending to have a private conversation. But the aesthetic awkwardness is freeing.\u003c/p>\n\u003cfigure id=\"attachment_12742363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg\" alt=\"Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We aren’t watching a couple argue, but rather a careful reconstruction of that argument as an expression of ritual and faith. And because of this, we listen with great care and follow a set of conventions that aren’t so much dramatic, as they are about what it means to believe. These are people for whom Christ’s love and demands are real and so their personal drama is always at a remove. The real action is how to live in the face of such stringent and beautiful beliefs.\u003c/p>\n\u003cp>That’s a shocking achievement, and for this alone, \u003cem>The Christians\u003c/em> is worthy of our attention. It’s an impressive play all the way to the end — and then for some reason Hnath doesn’t finish the job. We never get to the end of the service and formal closure. What happens to Pastor Paul doesn’t matter, but the completion of the ritual does. Without that lens, the play’s ending feels like a rejection of everything the playwright has accomplished up to then. And I guess my most damning critique is that in its concluding moments, \u003cem>The Christians\u003c/em> feels like a play.\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=\"Q.Logo.Break\" 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>‘The Christians’ runs through Saturday, Mar. 11 at SF Playhouse in San Francisco. For tickets and information \u003ca href=\"https://sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12742356/the-christians-isnt-so-much-a-play-as-a-strange-brilliant-sermon",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12742368",
"label": "arts_140"
}
},
"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": 1080,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_12864700",
"arts_12857731",
"arts_12843508",
"arts_12804600",
"arts_12799891",
"arts_12805796",
"arts_12810478",
"arts_12794413",
"arts_12777426",
"arts_12794217",
"arts_12777428",
"arts_12742356"
],
"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_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_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_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_1234": {
"type": "terms",
"id": "arts_1234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the spine",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the spine Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1246,
"slug": "the-spine",
"isLoading": false,
"link": "/arts/tag/the-spine"
},
"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_1642": {
"type": "terms",
"id": "arts_1642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#100daysart",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#100daysart Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1654,
"slug": "100daysart",
"isLoading": false,
"link": "/arts/tag/100daysart"
},
"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_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}