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_12081832": {
"type": "attachments",
"id": "arts_12081832",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12081832",
"found": true
},
"parent": 12081831,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb.jpg",
"width": 3660,
"height": 2058
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/blair-witch_wide-d813aa515836026719692da3ab9f3949184f68fb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1474137506,
"modified": 1474137684,
"caption": "Nobody Puts Baby in a Corner: Lane (Wes Robinson) and Talia LIons(Valorie Curry) in 'Blair Witch.'",
"description": "Nobody Puts Baby in a Corner: Lane (Wes Robinson) and Talia LIons(Valorie Curry) in 'Blair Witch.'",
"title": "Nobody Puts Baby in a Corner: Lane (Wes Robinson) and Talia LIons(Valorie Curry) in Blair Witch.",
"credit": "Photo: Chris Helcermanas–Benge/Lionsgate",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12070986": {
"type": "attachments",
"id": "arts_12070986",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12070986",
"found": true
},
"parent": 12070822,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938.jpg",
"width": 1197,
"height": 674
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/caught-1-e1473928446938-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473927724,
"modified": 1473929258,
"caption": "Dissident artist Lin Bo (Jomar Tagatac) gives a lecture about his experience in a Chinese prison in the Shotgun Players' 'Caught.' ",
"description": "Dissident artist Lin Bo (Jomar Tagatac) gives a lecture about his experience in a Chinese prison in the Shotgun Players' 'Caught.' ",
"title": "Caught",
"credit": "Photo: Pak Han",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12068959": {
"type": "attachments",
"id": "arts_12068959",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12068959",
"found": true
},
"parent": 12068407,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Drake.Lasers-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473888467,
"modified": 1473888537,
"caption": "Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.",
"description": "Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.",
"title": "Drake.Lasers",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12035380": {
"type": "attachments",
"id": "arts_12035380",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12035380",
"found": true
},
"parent": 12035379,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143.jpg",
"width": 720,
"height": 481
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/8.18.16_MCDSF-1143-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473241335,
"modified": 1473715925,
"caption": "\"Domestic Infrastructure #3,\" 'Anja Ulfeldt: Of Sound | Mind and Objects (2016)', Museum of Craft and Design",
"description": "\"Domestic Infrastructure #3,\" 'Anja Ulfeldt: Of Sound | Mind and Objects (2016)', Museum of Craft and Design",
"title": "8.18.16_MCDSF-1143",
"credit": "Photo: Courtesy of Dallis Willard",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12053065": {
"type": "attachments",
"id": "arts_12053065",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12053065",
"found": true
},
"parent": 12040942,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1.jpg",
"width": 1016,
"height": 572
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Vanessa-Hua-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473578598,
"modified": 1473578617,
"caption": "Vanessa Hua.",
"description": null,
"title": "Vanessa-Hua",
"credit": "Photo: Mark Puich",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12042707": {
"type": "attachments",
"id": "arts_12042707",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12042707",
"found": true
},
"parent": 12042706,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88.jpg",
"width": 3760,
"height": 2115
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/london-road-still-5_wide-e6e17991c5be963beb5bcdd457e14b3437822c88-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473377950,
"modified": 1473377950,
"caption": null,
"description": "Julia (Olivia Colman, center left) and June (Anita Dobson, center right) in the musical \u003cem>London Road\u003c/em>.",
"title": "Julia (Olivia Colman, center left) and June (Anita Dobson, center right) in the musical London Road.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12039052": {
"type": "attachments",
"id": "arts_12039052",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12039052",
"found": true
},
"parent": 12029369,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/1920-1080-Gentrification-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473311481,
"modified": 1473311547,
"caption": "'Boom: The Art of Resistance' puts forward a variety of tactics for resisting gentrification. ",
"description": null,
"title": "1920-1080-Gentrification",
"credit": "Lakshmi Sarah",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12032276": {
"type": "attachments",
"id": "arts_12032276",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12032276",
"found": true
},
"parent": 11998042,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473183964,
"modified": 1473184756,
"caption": "Installation view of 'On the Grid: Textiles and Minimalism' at the de Young.",
"description": "Installation view of 'On the Grid: Textiles and Minimalism' at the de Young.",
"title": "Installation view of 'On the Grid: Textiles and Minimalism' at the de Young.",
"credit": "Courtesy of FAMSF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12011991": {
"type": "attachments",
"id": "arts_12011991",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12011991",
"found": true
},
"parent": 12011990,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-e1472795699272.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/lbo-11956_wide-efe1c16d4ce5a946ea1c94839f86ac848f253604-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1472795605,
"modified": 1472795748,
"caption": "Isabel (Alicia Vikander) and Tom (Michael Fassbender) make a life for themselves on a remote island in 'The Light Between Oceans.'",
"description": "Isabel (Alicia Vikander) and Tom (Michael Fassbender) make a life for themselves on a remote island in 'The Light Between Oceans.'",
"title": "Isabel (Alicia Vikander) and Tom (Michael Fassbender) make a life for themselves on a remote island in 'The Light Between Oceans.'",
"credit": "Photo: Davi Russo",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12006047": {
"type": "attachments",
"id": "arts_12006047",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12006047",
"found": true
},
"parent": 12004739,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-400x236.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 236
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-960x566.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 566
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3.jpg",
"width": 3300,
"height": 1946
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-1180x696.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 696
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-800x472.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 472
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-1920x1132.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1132
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-1180x696.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 696
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-768x453.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 453
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/oberiu3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1472679681,
"modified": 1472688530,
"caption": "A scene from Act III of Erling Wold's 'Uksus' as performed by the Oakland Opera Theater.",
"description": "A scene from Act III of Erling Wold's 'Uksus' as performed by the Oakland Opera Theater.",
"title": "Erling Wold's Uksus",
"credit": "Photo: Oakland Opera Theater",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11990319": {
"type": "attachments",
"id": "arts_11990319",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11990319",
"found": true
},
"parent": 11979746,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/MichelleTea-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1472367871,
"modified": 1472367956,
"caption": "In Michelle Tea's 'Black Wave,' the Pacific Ocean is a fuming, toxic stew. ",
"description": "In Michelle Tea's 'Black Wave,' the Pacific Ocean is a fuming, toxic stew. ",
"title": "MichelleTea",
"credit": "Photo: From 'HAZMAT Surfing,' byMichael Dyrland/Mike Marshall",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11981346": {
"type": "attachments",
"id": "arts_11981346",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11981346",
"found": true
},
"parent": 11981343,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/Morris-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1472186625,
"modified": 1472186783,
"caption": "Markees Christmas and Lina Keller in 'Morris from America.'",
"description": "Markees Christmas and Lina Keller in 'Morris from America.'",
"title": "Morris",
"credit": "Courtesy of A24",
"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_12081831": {
"type": "authors",
"id": "byline_arts_12081831",
"meta": {
"override": true
},
"slug": "byline_arts_12081831",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_12042706": {
"type": "authors",
"id": "byline_arts_12042706",
"meta": {
"override": true
},
"slug": "byline_arts_12042706",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_12011990": {
"type": "authors",
"id": "byline_arts_12011990",
"meta": {
"override": true
},
"slug": "byline_arts_12011990",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_11981343": {
"type": "authors",
"id": "byline_arts_11981343",
"meta": {
"override": true
},
"slug": "byline_arts_11981343",
"name": "Andrew Lapin",
"isLoading": false
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"lclark": {
"type": "authors",
"id": "3224",
"meta": {
"index": "authors_1716337520",
"id": "3224",
"found": true
},
"name": "Leilani Clark",
"firstName": "Leilani",
"lastName": "Clark",
"slug": "lclark",
"email": "clark.leil@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Leilani Clark writes about books for KQED Arts. Her writing has been published at Mother Jones, The Guardian, Civil Eats, Time Magazine, Food & Wine, Edible Marin & Wine Country, and The Rumpus. She is the editor of Made Local magazine in Sonoma County. Find her on Twitter \u003ca href=\"https://twitter.com/leilclark\">@leilclark\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Leilani Clark | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/lclark"
},
"lakshmi": {
"type": "authors",
"id": "3245",
"meta": {
"index": "authors_1716337520",
"id": "3245",
"found": true
},
"name": "Lakshmi Sarah",
"firstName": "Lakshmi",
"lastName": "Sarah",
"slug": "lakshmi",
"email": "lakisarah@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Born and raised in California, Lakshmi is an educator and journalist with a focus on South Asia, gender, race and the arts. Over the past few years, she has worked with newspapers, radio and magazines from Botswana to Los Angeles. She has written and produced for various audiences, including Mic, Global Voices, Al Jazeera Online, AJ+ and KQED Arts. Lakshmi is a graduate of Pitzer College where she studied Global Communications and Studio Arts.",
"avatar": "https://secure.gravatar.com/avatar/30f520a9238d29ba9187c2a405e0f85d?s=600&d=blank&r=g",
"twitter": "lakitalki",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Lakshmi Sarah | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/30f520a9238d29ba9187c2a405e0f85d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/30f520a9238d29ba9187c2a405e0f85d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/lakshmi"
},
"ehunt": {
"type": "authors",
"id": "8633",
"meta": {
"index": "authors_1716337520",
"id": "8633",
"found": true
},
"name": "Emily Hunt",
"firstName": "Emily",
"lastName": "Hunt",
"slug": "ehunt",
"email": "emilyrhunt@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emily Hunt | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehunt"
},
"ctiee": {
"type": "authors",
"id": "8660",
"meta": {
"index": "authors_1716337520",
"id": "8660",
"found": true
},
"name": "Charlise Tiee",
"firstName": "Charlise",
"lastName": "Tiee",
"slug": "ctiee",
"email": "snailwing@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bay Area-based writer and painter. Reviews performances of classical music and audience behavior at \u003ca href=\"http://operatattler.com\" target=\"_blank\">The Opera Tattler\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Charlise Tiee | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ctiee"
},
"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": 9.307773
},
"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": 99
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 99
}
},
{
"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_12081831": {
"type": "posts",
"id": "arts_12081831",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12081831",
"score": null,
"sort": [
1474137698000
]
},
"guestAuthors": [],
"slug": "into-the-woods-but-out-of-ideas-a-tedious-ugly-pointless-blair-witch",
"title": "Into The Woods, But Out of Ideas: A Tedious, Ugly, Pointless 'Blair Witch'",
"publishDate": 1474137698,
"format": "standard",
"headTitle": "Into The Woods, But Out of Ideas: A Tedious, Ugly, Pointless ‘Blair Witch’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. This ugly, empty retread somehow cost $5 million, a figure that brings to mind Chris Rock’s great joke about its precursor: “Everyone’s like, ‘Oooh, it only cost $60,000.’ Where the hell did all the money go? Somebody’s walking around with $59,000 in their pocket.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Into+The+Woods%2C+But+Out+Of+Ideas%3A+A+Tedious%2C+Ugly%2C+Pointless+%27Blair+Witch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Ding-Dong, a 'Witch' Retread: A sequel to the \"found-footage\" horror sensation 'The Blair Witch Project' never manages to find a compelling reason to exist.",
"status": "publish",
"parent": 0,
"modified": 1726705268,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 1012
},
"headData": {
"title": "Into The Woods, But Out of Ideas: A Tedious, Ugly, Pointless 'Blair Witch' | KQED",
"description": "Ding-Dong, a 'Witch' Retread: A sequel to the "found-footage" horror sensation 'The Blair Witch Project' never manages to find a compelling reason to exist.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Into The Woods, But Out of Ideas: A Tedious, Ugly, Pointless 'Blair Witch'",
"datePublished": "2016-09-17T11:41:38-07:00",
"dateModified": "2024-09-18T17:21:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Chris Klimek",
"nprStoryId": "493793125",
"nprApiLink": "http://api.npr.org/query?id=493793125&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/09/15/493793125/into-the-woods-but-out-of-ideas-a-tedious-ugly-pointless-blair-witch?ft=nprml&f=493793125",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 15 Sep 2016 17:00:00 -0400",
"nprStoryDate": "Thu, 15 Sep 2016 17:00:26 -0400",
"nprLastModifiedDate": "Thu, 15 Sep 2016 17:00:26 -0400",
"path": "/arts/12081831/into-the-woods-but-out-of-ideas-a-tedious-ugly-pointless-blair-witch",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\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 premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. This ugly, empty retread somehow cost $5 million, a figure that brings to mind Chris Rock’s great joke about its precursor: “Everyone’s like, ‘Oooh, it only cost $60,000.’ Where the hell did all the money go? Somebody’s walking around with $59,000 in their pocket.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Into+The+Woods%2C+But+Out+Of+Ideas%3A+A+Tedious%2C+Ugly%2C+Pointless+%27Blair+Witch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12081831/into-the-woods-but-out-of-ideas-a-tedious-ugly-pointless-blair-witch",
"authors": [
"byline_arts_12081831"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12081832",
"label": "arts_137"
},
"arts_12070822": {
"type": "posts",
"id": "arts_12070822",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12070822",
"score": null,
"sort": [
1474038021000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1474038021,
"format": "standard",
"title": "Shotgun Players' Clever 'Caught' Gets Caught Up in its Own Lies",
"headTitle": "Shotgun Players’ Clever ‘Caught’ Gets Caught Up in its Own Lies | KQED",
"content": "\u003cp>Lying is fun. Catching liars — that’s fun too. What’s not fun is being lied to. And getting caught in a lie, well, that can be an uncomfortable experience. The best thing about Christopher Chen’s \u003ca href=\"https://shotgunplayers.org/Online/caught\" target=\"_blank\" rel=\"noopener\">\u003cem>Caught\u003c/em>\u003c/a>, currently running at the Shotgun Players’ Ashby Stage in Berkeley, is that it’s partially about lying. Chen’s play is also about deceit and trickery. His handling of those themes can be entertaining, but they’re never as compelling as the lying, and serve to undercut a great deal of the power of the play.\u003c/p>\n\u003cp>Chen starts with a slight shift in perspective. Instead of a play, what we’re seeing is a talk in an art gallery by a dissident Chinese artist, Lin Bo. We know the talk is as fake as any play we might see, including the one before us. Still, the conceit works. Lin’s gallery lecture has the feel of truth. The politically oppressed artist — abused in his own country and celebrated in America — has a long tradition, starting with the Soviet Union and now continuing with China; think of the West’s embrace of Ai Weiwei.\u003c/p>\n\u003cp>Chen catches the way in which these presentations always slip back and forth between descriptions of torture — “I was hit with a bamboo switch and sometimes an electrified club” — and the subtle scolding of liberal audiences eager to embrace radical art and freedom: “Is this really provocative art? The answer…is no.” When Lin mentions a \u003cem>New Yorker\u003c/em> profile of him and his upcoming memoir, it’s merely the cultural frosting on a very stale cake.\u003c/p>\n\u003cp>The ease of the set up allows Chen to subtly undermine what we’re hearing. Lin talks of another dissident artist,Yu Rong, whom the authorities might have confused Lin with, and asks, “Was Yu Rong the true target all along?” The answer, of course, if you’re listening carefully or enjoy bad puns on Asian names, is yes. You, the audience members, are the target. And as the target of Chen’s puzzle box of a play, you will often be wrong.\u003c/p>\n\u003cfigure id=\"attachment_12071010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg\" alt=\"Things get crazy in the offices of 'The New Yorker' as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get crazy in the offices of ‘The New Yorker’ as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in ‘Caught.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lecture ends, the entire stage erupts into a swanky office at the \u003cem>New Yorker\u003c/em> (a stunning achievement by set designer Nina Ball) and a more traditional play appears to begin. Lin is meeting with the writer of the recent profile on him, Joyce Anderson, and her editor, Bob Levy — they just have a few questions, some details about his story that they need to clear up to feel comfortable. You always know you’re in trouble when others need to be comfortable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director Susannah Martin, Ball, and noise architect Matt Stines create an admirable sense of distance from the action. Employing a hyper-realistic acting style, a glassed in set — that echoes and distorts the actor’s voices — they make us want to get closer to the action, to truly understand what’s going on.\u003c/p>\n\u003cp>If in the previous scene Lin is “caught” by a repressive Chinese government, here he is “caught” by the fact-checking department of the \u003cem>The New Yorker\u003c/em>, and we feel his discomfort, maybe more so than his tales of being tortured. The first two-thirds of the scene is a tense culture clash between differing views of the truth. And those differences become even more unbearable given how polite everyone tries to remain. It’s a tea party with a nasty political, cultural, and racial undercurrent.\u003c/p>\n\u003cp>This is only the first of the many tricks in Chen’s \u003cem>Caught\u003c/em>, and by far the most effective. It’s a battle over reality using competing models of theatrical realism. When the play hews to the realistic, no matter what the true story is, it’s an effective meditation on the difficulty of grasping the truth. But too often Chen veers into absurdity, both in terms of the logic of his plotting and as a theatrical style.\u003c/p>\n\u003cp>Take for example the long second and third scenes of the play. They both start in a promising manner, but then Chen takes the easy way out. So, a “fictional” post-show discussion with one of the actresses (Elissa Stebbins playing actress/curator Elissa Stebbins) and the supposed creator of the piece, Wang Min, a Chinese installation artist played by El Beh, is initially tense and funny. But Chen settles for cheap laughs. The scene, like the one before it, devolves into the absurd and plays like an overlong bit of sketch comedy.\u003c/p>\n\u003cfigure id=\"attachment_12071008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg\" alt=\"(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in ‘Caught.’ \u003ccite>(Photo: Han Pak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issue comes to a head when Wang claims that her piece was, “first inspired by incidents of scandal involving truth and lying in the United States.” She is especially taken with Mike Daisey’s infamous 2010 solo show about labor conditions in Apple’s Chinese factories, \u003ca href=\"http://mikedaisey.blogspot.com/p/monologues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>The Agony and Ecstasy of Steve Jobs\u003c/em>\u003c/a>. It’s a fascinating reference and explains a great deal of what’s wrong with Chen’s play.\u003c/p>\n\u003cp>After excerpts of Daisey’s show aired on \u003cem>This American Life\u003c/em>, a number of journalists familiar with China felt that there was something off about this supposedly true story. In a follow-up interview with host Ira Glass, Daisey admitted that he deliberately misled the \u003cem>NPR\u003c/em> fact-checkers and had embellished key details. It’s painful and awful to listen to Daisey’s ludicrous explanation\u003cstrong>s\u003c/strong> of his actions. What’s compelling, though, is how his story points to the mundane reality of truth and lies. That \u003ca href=\"http://www.thisamericanlife.org/radio-archives/episode/460/retraction?act=2\" target=\"_blank\" rel=\"noopener\">15-minute interview\u003c/a> will rattle your soul. Whereas the meta-theatrical musings of \u003cem>Caught\u003c/em> never quite get to the heart of the matter.\u003c/p>\n\u003cp>For those of you who only trust your own experiences, you should go to \u003cem>Caught\u003c/em>, listen to Daisey’s retraction, and then tell me which you think is the more compelling piece of theater.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’\u003cem> Caught\u003c/em> runs through Sunday, Oct. 2 at the Ashby Stage in Berkeley and then in rep to the end of the 2016-17 season. For tickets and information please \u003ca href=\"https://shotgunplayers.org/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1147,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705033011,
"excerpt": "Bay Area dramatist Christopher Chen’s play at the Shotgun Players' Ashby Stage in Berkeley puts a new spin on well-known stories surrounding the likes of dissident artist Ai Weiwei and monologist Mike Daisey. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Bay Area dramatist Christopher Chen’s play at the Shotgun Players' Ashby Stage in Berkeley puts a new spin on well-known stories surrounding the likes of dissident artist Ai Weiwei and monologist Mike Daisey. ",
"title": "Shotgun Players' Clever 'Caught' Gets Caught Up in its Own Lies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shotgun Players' Clever 'Caught' Gets Caught Up in its Own Lies",
"datePublished": "2016-09-16T08:00:21-07:00",
"dateModified": "2024-01-11T20:16:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "shotgun-players-clever-caught-gets-caught-up-in-its-own-lies",
"status": "publish",
"sticky": false,
"nprStoryId": "494237293",
"path": "/arts/12070822/shotgun-players-clever-caught-gets-caught-up-in-its-own-lies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lying is fun. Catching liars — that’s fun too. What’s not fun is being lied to. And getting caught in a lie, well, that can be an uncomfortable experience. The best thing about Christopher Chen’s \u003ca href=\"https://shotgunplayers.org/Online/caught\" target=\"_blank\" rel=\"noopener\">\u003cem>Caught\u003c/em>\u003c/a>, currently running at the Shotgun Players’ Ashby Stage in Berkeley, is that it’s partially about lying. Chen’s play is also about deceit and trickery. His handling of those themes can be entertaining, but they’re never as compelling as the lying, and serve to undercut a great deal of the power of the play.\u003c/p>\n\u003cp>Chen starts with a slight shift in perspective. Instead of a play, what we’re seeing is a talk in an art gallery by a dissident Chinese artist, Lin Bo. We know the talk is as fake as any play we might see, including the one before us. Still, the conceit works. Lin’s gallery lecture has the feel of truth. The politically oppressed artist — abused in his own country and celebrated in America — has a long tradition, starting with the Soviet Union and now continuing with China; think of the West’s embrace of Ai Weiwei.\u003c/p>\n\u003cp>Chen catches the way in which these presentations always slip back and forth between descriptions of torture — “I was hit with a bamboo switch and sometimes an electrified club” — and the subtle scolding of liberal audiences eager to embrace radical art and freedom: “Is this really provocative art? The answer…is no.” When Lin mentions a \u003cem>New Yorker\u003c/em> profile of him and his upcoming memoir, it’s merely the cultural frosting on a very stale cake.\u003c/p>\n\u003cp>The ease of the set up allows Chen to subtly undermine what we’re hearing. Lin talks of another dissident artist,Yu Rong, whom the authorities might have confused Lin with, and asks, “Was Yu Rong the true target all along?” The answer, of course, if you’re listening carefully or enjoy bad puns on Asian names, is yes. You, the audience members, are the target. And as the target of Chen’s puzzle box of a play, you will often be wrong.\u003c/p>\n\u003cfigure id=\"attachment_12071010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg\" alt=\"Things get crazy in the offices of 'The New Yorker' as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get crazy in the offices of ‘The New Yorker’ as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in ‘Caught.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lecture ends, the entire stage erupts into a swanky office at the \u003cem>New Yorker\u003c/em> (a stunning achievement by set designer Nina Ball) and a more traditional play appears to begin. Lin is meeting with the writer of the recent profile on him, Joyce Anderson, and her editor, Bob Levy — they just have a few questions, some details about his story that they need to clear up to feel comfortable. You always know you’re in trouble when others need to be comfortable.\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>Director Susannah Martin, Ball, and noise architect Matt Stines create an admirable sense of distance from the action. Employing a hyper-realistic acting style, a glassed in set — that echoes and distorts the actor’s voices — they make us want to get closer to the action, to truly understand what’s going on.\u003c/p>\n\u003cp>If in the previous scene Lin is “caught” by a repressive Chinese government, here he is “caught” by the fact-checking department of the \u003cem>The New Yorker\u003c/em>, and we feel his discomfort, maybe more so than his tales of being tortured. The first two-thirds of the scene is a tense culture clash between differing views of the truth. And those differences become even more unbearable given how polite everyone tries to remain. It’s a tea party with a nasty political, cultural, and racial undercurrent.\u003c/p>\n\u003cp>This is only the first of the many tricks in Chen’s \u003cem>Caught\u003c/em>, and by far the most effective. It’s a battle over reality using competing models of theatrical realism. When the play hews to the realistic, no matter what the true story is, it’s an effective meditation on the difficulty of grasping the truth. But too often Chen veers into absurdity, both in terms of the logic of his plotting and as a theatrical style.\u003c/p>\n\u003cp>Take for example the long second and third scenes of the play. They both start in a promising manner, but then Chen takes the easy way out. So, a “fictional” post-show discussion with one of the actresses (Elissa Stebbins playing actress/curator Elissa Stebbins) and the supposed creator of the piece, Wang Min, a Chinese installation artist played by El Beh, is initially tense and funny. But Chen settles for cheap laughs. The scene, like the one before it, devolves into the absurd and plays like an overlong bit of sketch comedy.\u003c/p>\n\u003cfigure id=\"attachment_12071008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg\" alt=\"(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in ‘Caught.’ \u003ccite>(Photo: Han Pak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issue comes to a head when Wang claims that her piece was, “first inspired by incidents of scandal involving truth and lying in the United States.” She is especially taken with Mike Daisey’s infamous 2010 solo show about labor conditions in Apple’s Chinese factories, \u003ca href=\"http://mikedaisey.blogspot.com/p/monologues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>The Agony and Ecstasy of Steve Jobs\u003c/em>\u003c/a>. It’s a fascinating reference and explains a great deal of what’s wrong with Chen’s play.\u003c/p>\n\u003cp>After excerpts of Daisey’s show aired on \u003cem>This American Life\u003c/em>, a number of journalists familiar with China felt that there was something off about this supposedly true story. In a follow-up interview with host Ira Glass, Daisey admitted that he deliberately misled the \u003cem>NPR\u003c/em> fact-checkers and had embellished key details. It’s painful and awful to listen to Daisey’s ludicrous explanation\u003cstrong>s\u003c/strong> of his actions. What’s compelling, though, is how his story points to the mundane reality of truth and lies. That \u003ca href=\"http://www.thisamericanlife.org/radio-archives/episode/460/retraction?act=2\" target=\"_blank\" rel=\"noopener\">15-minute interview\u003c/a> will rattle your soul. Whereas the meta-theatrical musings of \u003cem>Caught\u003c/em> never quite get to the heart of the matter.\u003c/p>\n\u003cp>For those of you who only trust your own experiences, you should go to \u003cem>Caught\u003c/em>, listen to Daisey’s retraction, and then tell me which you think is the more compelling piece of theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’\u003cem> Caught\u003c/em> runs through Sunday, Oct. 2 at the Ashby Stage in Berkeley and then in rep to the end of the 2016-17 season. For tickets and information please \u003ca href=\"https://shotgunplayers.org/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12070822/shotgun-players-clever-caught-gets-caught-up-in-its-own-lies",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12070986",
"label": "arts_140"
},
"arts_12068407": {
"type": "posts",
"id": "arts_12068407",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12068407",
"score": null,
"sort": [
1473890432000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1473890432,
"format": "image",
"title": "Live Review: Drake, On Top and More Exhausting than Ever, at Oracle Arena",
"headTitle": "Live Review: Drake, On Top and More Exhausting than Ever, at Oracle Arena | KQED",
"content": "\u003cp>I sometimes wonder how Ross Gellar from \u003cem>Friends\u003c/em> might have turned out if he hadn’t been kept in check by the other friends on the show. Can you imagine if Ross — self-absorbed, whiny, insecure — grew up to be a wealthy CEO of a pharmaceutical company? A tech billionaire in the Mission District? Or, most dangerous option of all, a million-selling rap superstar played constantly on urban radio, who parties with basketball players, \u003ca href=\"http://www.billboard.com/articles/columns/the-juice/6450991/drake-porn-star-mia-khalifa-instagram-creeping\" target=\"_blank\" rel=\"noopener\">creeps into porn stars’ DMs\u003c/a> and sells out shows around the world? \u003c/p>\n\u003cp>No longer need we wonder. In the first of his four sold-out shows in the Bay Area Tuesday night, Drake proved himself as the hip-hop version of Ross from \u003cem>Friends\u003c/em>, overcompensating for his insecurities on a grand, uncomfortable scale and playing to tired stereotypes for attention for over two hours at Oakland’s Oracle Arena.\u003c/p>\n\u003cfigure id=\"attachment_12068957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.Forgive-800x450.jpg\" alt=\"Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12068957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drake’s set started promising enough. Without a doubt, he’s impeccably skilled at working a crowd of 20,000, and for 15 minutes, it was thrill to see the man in action — running to the edges of the stage, bouncing in time, and making the Bay Area feel special in repeated exhortations of his love for Oakland, the way he’s done in past shows here. He has a canny ability to craft catchy hooks, and by now, he’s skilled on the mic, rarely relying on backing vocals for support. \u003c/p>\n\u003cp>But the show quickly devolved into a king-of-the-mountain act, with Drake driving medleys of chopped-up portions of his songs into the crowd’s skull, one after the other, as if they were not already firmly lodged there. Snippet after snippet, he threw sharp darts of material that deserved to be performed in full: “Headlines,” “All Me,” “The Motto,” “Over” and so many others.\u003c/p>\n\u003cp>The effect wasn’t punishing, necessarily, but it was inarguably numbing. Coupled with Drake’s nattering boasts and stage pyrotechnics so constant that they became predictable, one couldn’t help but think after a while: \u003cem>Dude, we get it\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12068956\" class=\"wp-caption aligncenter\" style=\"max-width: 693px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-693x600.jpg\" alt=\"Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"693\" height=\"600\" class=\"size-medium wp-image-12068956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-693x600.jpg 693w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-400x346.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-1180x1022.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_.jpg 1663w\" sizes=\"(max-width: 693px) 100vw, 693px\">\u003cfigcaption class=\"wp-caption-text\">Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At this point, Drake should have nothing to prove. He has completely dominated popular music in 2016. His latest and weakest album \u003cem>Views\u003c/em> has spent more weeks at No. 1 than any album since \u003cem>Frozen\u003c/em>, he’s \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7430878/drake-views-chart-records\" target=\"_blank\" rel=\"noopener\">broken chart records left and right\u003c/a>, and has secured the coveted \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7496158/drake-one-dance-song-of-the-summer-2016\" target=\"_blank\" rel=\"noopener\">song of the summer\u003c/a> with “One Dance” amidst his ubiquitous presence on the airwaves. It would be reasonable for him to relax a little.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But on Tuesday, Drake obsessed over proving his Bay Area credentials, playing the revered Mac Dre’s “Thizzle Dance” and Too Short’s “Blow the Whistle,” pitting the “fake Bay” against the “real Bay,” wearing a Golden State Warriors jersey and bringing to the stage recent Warriors signee Kevin Durant (preceded by a brag about his “friends in high places”). At every chance, he changed his lyrics to suit Oakland or the Bay Area. He also repeated the same strange lie he’s \u003ca href=\"http://www.houstonpress.com/music/drake-makes-his-latest-houston-show-a-memorable-marathon-8735096\" target=\"_blank\" rel=\"noopener\">told in other cities\u003c/a> on this tour: that he’d be fined for staying on stage past a (nonexistent) curfew of 11pm, and that because this is his favorite place, he will happily pay it (“I don’t care if they want $1,000 a minute, $2,000 a minute, $5,000 a minute, $10,000 a minute”). In case you forgot, Drake is here to remind you: he is wealthy.\u003c/p>\n\u003cfigure id=\"attachment_12068960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-800x450.jpg\" alt=\"Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12068960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All in all, the show completed Drake’s transformation from the introvert of “Marvin’s Room” from 2011’s excellent \u003cem>Take Care\u003c/em>, to the guy who lifts weights, \u003ca href=\"http://www.mtv.com/news/2910950/drake-vs-meek-mill-a-year-later/\" target=\"_blank\" rel=\"noopener\">flaunts his childish grudges\u003c/a>, and drops names. “You know, I come to games here, I’m a fan,” he insisted at the Warriors’ home arena, “Steph is like my brother. Draymond is like my brother.”\u003c/p>\n\u003cp>Co-headliner Future, from Atlanta, provided a half-hour’s respite, but to see such an otherwise compelling and mystical talent in this setting felt off. After a short set including “Thought it Was a Drought,” “Stick Talk” and “March Madness,” Drake returned to the stage for collaborations “Big Rings,” “Jumpman” and others, bringing home the reality that there is no regional talent he won’t colonize. (Oakland’s Kamaiyah performed before Drake with a short three-song set, and let’s hope she doesn’t become another \u003ca href=\"http://www.thefader.com/2014/11/14/every-drake-co-sign-is-a-co-sign-of-himself\" target=\"_blank\" rel=\"noopener\">Makkonen\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_12068958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.Future-800x450.jpg\" alt=\"Future performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12068958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A nod must be given to the set design, featuring a floating gondola that carried Drake over the crowd during “Hold On, We’re Going Home” and glowing orbs and that bounced up and down in patterns that lent a much-needed air of fun. But it only helped for so long. After this year’s hits “Controlla” and “One Dance,” certain songs after the two-hour mark — “Pop Style,” “Know Yourself” — were performed to a crowd that barely bothered to cheer until Drake directed them to. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While groups of people headed for the exits, I started thinking about \u003cem>Friends\u003c/em> again, and all the women on the show who left Ross. With Drake, it might be time for us to do the same.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 979,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705033032,
"excerpt": "During a numbing, two-and-a-half hour set in Oakland, the chart-topping Canadian rapper delivered flat, clipped medleys and overcompensating bravado.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "During a numbing, two-and-a-half hour set in Oakland, the chart-topping Canadian rapper delivered flat, clipped medleys and overcompensating bravado.",
"title": "Live Review: Drake, On Top and More Exhausting than Ever, at Oracle Arena | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live Review: Drake, On Top and More Exhausting than Ever, at Oracle Arena",
"datePublished": "2016-09-14T15:00:32-07:00",
"dateModified": "2024-01-11T20:17:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "live-review-drake-on-top-and-more-exhausting-than-ever-at-oracle-arena",
"status": "publish",
"sticky": false,
"nprStoryId": "493990695",
"path": "/arts/12068407/live-review-drake-on-top-and-more-exhausting-than-ever-at-oracle-arena",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I sometimes wonder how Ross Gellar from \u003cem>Friends\u003c/em> might have turned out if he hadn’t been kept in check by the other friends on the show. Can you imagine if Ross — self-absorbed, whiny, insecure — grew up to be a wealthy CEO of a pharmaceutical company? A tech billionaire in the Mission District? Or, most dangerous option of all, a million-selling rap superstar played constantly on urban radio, who parties with basketball players, \u003ca href=\"http://www.billboard.com/articles/columns/the-juice/6450991/drake-porn-star-mia-khalifa-instagram-creeping\" target=\"_blank\" rel=\"noopener\">creeps into porn stars’ DMs\u003c/a> and sells out shows around the world? \u003c/p>\n\u003cp>No longer need we wonder. In the first of his four sold-out shows in the Bay Area Tuesday night, Drake proved himself as the hip-hop version of Ross from \u003cem>Friends\u003c/em>, overcompensating for his insecurities on a grand, uncomfortable scale and playing to tired stereotypes for attention for over two hours at Oakland’s Oracle Arena.\u003c/p>\n\u003cfigure id=\"attachment_12068957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.Forgive-800x450.jpg\" alt=\"Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12068957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Forgive-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drake’s set started promising enough. Without a doubt, he’s impeccably skilled at working a crowd of 20,000, and for 15 minutes, it was thrill to see the man in action — running to the edges of the stage, bouncing in time, and making the Bay Area feel special in repeated exhortations of his love for Oakland, the way he’s done in past shows here. He has a canny ability to craft catchy hooks, and by now, he’s skilled on the mic, rarely relying on backing vocals for support. \u003c/p>\n\u003cp>But the show quickly devolved into a king-of-the-mountain act, with Drake driving medleys of chopped-up portions of his songs into the crowd’s skull, one after the other, as if they were not already firmly lodged there. Snippet after snippet, he threw sharp darts of material that deserved to be performed in full: “Headlines,” “All Me,” “The Motto,” “Over” and so many others.\u003c/p>\n\u003cp>The effect wasn’t punishing, necessarily, but it was inarguably numbing. Coupled with Drake’s nattering boasts and stage pyrotechnics so constant that they became predictable, one couldn’t help but think after a while: \u003cem>Dude, we get it\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12068956\" class=\"wp-caption aligncenter\" style=\"max-width: 693px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-693x600.jpg\" alt=\"Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"693\" height=\"600\" class=\"size-medium wp-image-12068956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-693x600.jpg 693w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-400x346.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-1180x1022.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Crowd_.jpg 1663w\" sizes=\"(max-width: 693px) 100vw, 693px\">\u003cfigcaption class=\"wp-caption-text\">Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At this point, Drake should have nothing to prove. He has completely dominated popular music in 2016. His latest and weakest album \u003cem>Views\u003c/em> has spent more weeks at No. 1 than any album since \u003cem>Frozen\u003c/em>, he’s \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7430878/drake-views-chart-records\" target=\"_blank\" rel=\"noopener\">broken chart records left and right\u003c/a>, and has secured the coveted \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7496158/drake-one-dance-song-of-the-summer-2016\" target=\"_blank\" rel=\"noopener\">song of the summer\u003c/a> with “One Dance” amidst his ubiquitous presence on the airwaves. It would be reasonable for him to relax a little.\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 on Tuesday, Drake obsessed over proving his Bay Area credentials, playing the revered Mac Dre’s “Thizzle Dance” and Too Short’s “Blow the Whistle,” pitting the “fake Bay” against the “real Bay,” wearing a Golden State Warriors jersey and bringing to the stage recent Warriors signee Kevin Durant (preceded by a brag about his “friends in high places”). At every chance, he changed his lyrics to suit Oakland or the Bay Area. He also repeated the same strange lie he’s \u003ca href=\"http://www.houstonpress.com/music/drake-makes-his-latest-houston-show-a-memorable-marathon-8735096\" target=\"_blank\" rel=\"noopener\">told in other cities\u003c/a> on this tour: that he’d be fined for staying on stage past a (nonexistent) curfew of 11pm, and that because this is his favorite place, he will happily pay it (“I don’t care if they want $1,000 a minute, $2,000 a minute, $5,000 a minute, $10,000 a minute”). In case you forgot, Drake is here to remind you: he is wealthy.\u003c/p>\n\u003cfigure id=\"attachment_12068960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-800x450.jpg\" alt=\"Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12068960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drake performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All in all, the show completed Drake’s transformation from the introvert of “Marvin’s Room” from 2011’s excellent \u003cem>Take Care\u003c/em>, to the guy who lifts weights, \u003ca href=\"http://www.mtv.com/news/2910950/drake-vs-meek-mill-a-year-later/\" target=\"_blank\" rel=\"noopener\">flaunts his childish grudges\u003c/a>, and drops names. “You know, I come to games here, I’m a fan,” he insisted at the Warriors’ home arena, “Steph is like my brother. Draymond is like my brother.”\u003c/p>\n\u003cp>Co-headliner Future, from Atlanta, provided a half-hour’s respite, but to see such an otherwise compelling and mystical talent in this setting felt off. After a short set including “Thought it Was a Drought,” “Stick Talk” and “March Madness,” Drake returned to the stage for collaborations “Big Rings,” “Jumpman” and others, bringing home the reality that there is no regional talent he won’t colonize. (Oakland’s Kamaiyah performed before Drake with a short three-song set, and let’s hope she doesn’t become another \u003ca href=\"http://www.thefader.com/2014/11/14/every-drake-co-sign-is-a-co-sign-of-himself\" target=\"_blank\" rel=\"noopener\">Makkonen\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_12068958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Drake.Future-800x450.jpg\" alt=\"Future performs at the Oracle Arena in Oakland, Sept. 13, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12068958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Drake.Future-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at the Oracle Arena in Oakland, Sept. 13, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A nod must be given to the set design, featuring a floating gondola that carried Drake over the crowd during “Hold On, We’re Going Home” and glowing orbs and that bounced up and down in patterns that lent a much-needed air of fun. But it only helped for so long. After this year’s hits “Controlla” and “One Dance,” certain songs after the two-hour mark — “Pop Style,” “Know Yourself” — were performed to a crowd that barely bothered to cheer until Drake directed them to. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While groups of people headed for the exits, I started thinking about \u003cem>Friends\u003c/em> again, and all the women on the show who left Ross. With Drake, it might be time for us to do the same.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12068407/live-review-drake-on-top-and-more-exhausting-than-ever-at-oracle-arena",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12068959",
"label": "arts"
},
"arts_12035379": {
"type": "posts",
"id": "arts_12035379",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12035379",
"score": null,
"sort": [
1473717634000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1473717634,
"format": "standard",
"title": "Anja Ulfeldt Makes Art From the Unappealing Sounds of Aging Plumbing",
"headTitle": "Anja Ulfeldt Makes Art From the Unappealing Sounds of Aging Plumbing | KQED",
"content": "\u003cp>Anja Ulfeldt makes visible what most of us choose to ignore.\u003c/p>\n\u003cp>Oakland neighborhoods, like the one the artist lives in, are comprised of aging houses and apartment buildings. The large plumbing pipes that hang from the sides of them routinely go unnoticed. You think, “All that rust and gunk: What an eyesore!” if you think of them at all. And the background noise of running water — from the toilet flush to the bathtub draining — is usually a mild annoyance and not a pleasure to hear.\u003c/p>\n\u003cfigure id=\"attachment_12035381\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg\" alt=\"The antique hand pump for Domestic Infrastructure #3\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">The antique hand pump for “Domestic Infrastructure #3” \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Of Sound l Mind and Objects\u003c/em>,\u003c/a> Ulfeldt’s new exhibition at San Francisco’s Museum of Craft and Design, is out to prove otherwise. The artist had a lucky run at a local salvage yard and found similar sized pipes from demolished buildings. At the museum, she has mounted an entire gallery wall with these enormous pipes, sealing them together and filling them with water. Against the high, white wall, the eye-catching installation \u003cem>Domestic Infrastructure #3\u003c/em> resembles a metallic alphabet, letters in an alien tongue.\u003c/p>\n\u003cp>But apart from its visual impact, Ulfeldt has made what she calls “a performable object” — an interactive piece that yields more meaning from active engagement than from a passive gallery stroll. The point is to elicit a response in the participant through the use of sound and physical motion.\u003c/p>\n\u003cp>The pipes are fitted externally with microphones and internally with hydrophones. Speakers amplify the sound of water moving up and down and around the structure. There are two ways to activate all that gurgling and burbling. You can simply walk up close and the water slowly begins to travel. Alternatively, you move an antique hand pump back and forth until the water begins to vigorously rise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What results is a dripping, sodden concerto of your own making. The sounds recall the music generated by the \u003ca href=\"http://www.exploratorium.edu/visit/wave-organ\" target=\"_blank\" rel=\"noopener\">Wave Organ\u003c/a>, that beloved sound art installation on the waterfront near San Francisco’s Marina. It’s soothing and discordant, an unorthodox rhythm bubbling up from the sea’s melancholy.\u003c/p>\n\u003cfigure id=\"attachment_12035382\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg\" alt=\"Anja Ulfeldt at The Museum of Craft and Design\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">Anja Ulfeldt at The Museum of Craft and Design \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The explanatory signage hanging in the gallery states : “The installation draws parallels between external infrastructures in the built environment and the circulatory and digestive systems of the human body.”\u003c/p>\n\u003cp>But in listening to Ulfeldt talk about her process as she constructed \u003cem>Domestic Infrastructure #3\u003c/em>, it’s the industry of her endeavor that’s compelling — more so than the theory behind it. The artist placed the pipes on the ground below her studio in an arrangement made from her initial sketches. Then, she walked upstairs to a higher floor, looking down to see what to adjust, before heading back downstairs to fix it.\u003c/p>\n\u003cp>With this work, Ulfeldt is sending a message to us and the planet. You can hear it when a hand cranks the pump, forcing the water to rise up against gravity, until all that water music recedes and fades into a silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Anja Ulfeldt: Of Sound l Mind and Objects\u003c/em>\u003c/a> will be on show through Sunday, Jan. 22, 2017 at The Museum of Craft and Design in San Francisco. \u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 566,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705033055,
"excerpt": "The Oakland artist's compelling installation at SF's Museum of Craft and Design connects the dots between the infrastructure of buildings and the human body's circulatory and digestive systems.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Oakland artist's compelling installation at SF's Museum of Craft and Design connects the dots between the infrastructure of buildings and the human body's circulatory and digestive systems.",
"title": "Anja Ulfeldt Makes Art From the Unappealing Sounds of Aging Plumbing | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Anja Ulfeldt Makes Art From the Unappealing Sounds of Aging Plumbing",
"datePublished": "2016-09-12T15:00:34-07:00",
"dateModified": "2024-01-11T20:17:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "anja-ulfeldt-makes-art-from-the-unappealing-sounds-of-aging-plumbing",
"status": "publish",
"sticky": false,
"nprStoryId": "493673655",
"path": "/arts/12035379/anja-ulfeldt-makes-art-from-the-unappealing-sounds-of-aging-plumbing",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anja Ulfeldt makes visible what most of us choose to ignore.\u003c/p>\n\u003cp>Oakland neighborhoods, like the one the artist lives in, are comprised of aging houses and apartment buildings. The large plumbing pipes that hang from the sides of them routinely go unnoticed. You think, “All that rust and gunk: What an eyesore!” if you think of them at all. And the background noise of running water — from the toilet flush to the bathtub draining — is usually a mild annoyance and not a pleasure to hear.\u003c/p>\n\u003cfigure id=\"attachment_12035381\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg\" alt=\"The antique hand pump for Domestic Infrastructure #3\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">The antique hand pump for “Domestic Infrastructure #3” \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Of Sound l Mind and Objects\u003c/em>,\u003c/a> Ulfeldt’s new exhibition at San Francisco’s Museum of Craft and Design, is out to prove otherwise. The artist had a lucky run at a local salvage yard and found similar sized pipes from demolished buildings. At the museum, she has mounted an entire gallery wall with these enormous pipes, sealing them together and filling them with water. Against the high, white wall, the eye-catching installation \u003cem>Domestic Infrastructure #3\u003c/em> resembles a metallic alphabet, letters in an alien tongue.\u003c/p>\n\u003cp>But apart from its visual impact, Ulfeldt has made what she calls “a performable object” — an interactive piece that yields more meaning from active engagement than from a passive gallery stroll. The point is to elicit a response in the participant through the use of sound and physical motion.\u003c/p>\n\u003cp>The pipes are fitted externally with microphones and internally with hydrophones. Speakers amplify the sound of water moving up and down and around the structure. There are two ways to activate all that gurgling and burbling. You can simply walk up close and the water slowly begins to travel. Alternatively, you move an antique hand pump back and forth until the water begins to vigorously rise.\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 results is a dripping, sodden concerto of your own making. The sounds recall the music generated by the \u003ca href=\"http://www.exploratorium.edu/visit/wave-organ\" target=\"_blank\" rel=\"noopener\">Wave Organ\u003c/a>, that beloved sound art installation on the waterfront near San Francisco’s Marina. It’s soothing and discordant, an unorthodox rhythm bubbling up from the sea’s melancholy.\u003c/p>\n\u003cfigure id=\"attachment_12035382\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg\" alt=\"Anja Ulfeldt at The Museum of Craft and Design\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">Anja Ulfeldt at The Museum of Craft and Design \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The explanatory signage hanging in the gallery states : “The installation draws parallels between external infrastructures in the built environment and the circulatory and digestive systems of the human body.”\u003c/p>\n\u003cp>But in listening to Ulfeldt talk about her process as she constructed \u003cem>Domestic Infrastructure #3\u003c/em>, it’s the industry of her endeavor that’s compelling — more so than the theory behind it. The artist placed the pipes on the ground below her studio in an arrangement made from her initial sketches. Then, she walked upstairs to a higher floor, looking down to see what to adjust, before heading back downstairs to fix it.\u003c/p>\n\u003cp>With this work, Ulfeldt is sending a message to us and the planet. You can hear it when a hand cranks the pump, forcing the water to rise up against gravity, until all that water music recedes and fades into a silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Anja Ulfeldt: Of Sound l Mind and Objects\u003c/em>\u003c/a> will be on show through Sunday, Jan. 22, 2017 at The Museum of Craft and Design in San Francisco. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12035379/anja-ulfeldt-makes-art-from-the-unappealing-sounds-of-aging-plumbing",
"authors": [
"42"
],
"programs": [
"arts_140"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_973"
],
"featImg": "arts_12035380",
"label": "arts_140"
},
"arts_12040942": {
"type": "posts",
"id": "arts_12040942",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12040942",
"score": null,
"sort": [
1473606027000
]
},
"guestAuthors": [],
"slug": "temptation-and-consequence-in-vanessa-huas-deceit-and-other-possibilities",
"title": "Temptation and Consequence in Vanessa Hua's 'Deceit and Other Possibilities'",
"publishDate": 1473606027,
"format": "standard",
"headTitle": "Temptation and Consequence in Vanessa Hua’s ‘Deceit and Other Possibilities’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Lies, betrayal, cheating, heartbreak — these are the themes that run through Vanessa Hua’s debut story collection \u003ca href=\"http://aquariuspress.myshopify.com/products/deceit-and-other-possibilities-pre-order\">\u003cem>Deceit and Other Possibilities\u003c/em>\u003c/a>. Out this month on \u003ca href=\"http://aquariuspress.myshopify.com/products/deceit-and-other-possibilities-pre-order\">Willow Books\u003c/a> (Hua was the publishing imprint’s grand prize winner for prose), the stories here are filled with desperate, confused, liminal people making questionable life choices. The American-born Hong Kong movie star facing a sex scandal of epic proportions. The defrocked 21st-century pastor looking to make a comeback in Hong Kong, by any means necessary. A woman whose husband’s sudden death forces her to reflect on their mutual history of infidelity. \u003c/p>\n\u003cp>Many of these stories take place in, or peripherally involve, the San Francisco Bay Area — no surprise since Hua, \u003ca href=\"http://www.sfchronicle.com/author/vanessa-hua/\">a \u003cem>San Francisco Chronicle\u003c/em> columnist\u003c/a>, lives locally. The daughter of Chinese immigrants, she’s written before about what it’s like to grow up between cultures, and that tension is often explored in these stories.\u003c/p>\n\u003cp>In “Line, Please,” the memorable opening story, Kingsway Lee is a Bay Area-born young Chinese-American man who moves to Hong Kong in his late teens and stumbles into a movie career, becoming a sudden sex symbol. His parents back in America couldn’t care less; to them, he’ll always be the college dropout that never became a doctor. Across the ocean, Lee finds a new life, a “bigger, brighter version, me all along, like a moth’s hidden brilliance, exposed in ultraviolet.”\u003c/p>\n\u003cp>At a commercial shoot, he experiences a sense of power for the first time in his life. Here he is desired, his Western manners and Chinese appearance making him a charmed creature.\u003c/p>\n\u003cblockquote>\u003cp>The photo shoot for a bottled grass jelly drink seemed legit. The scout didn’t fleece me with an up-front fee, and miraculously, the make-up artist with the smoky voice and smoky eyes seemed to be flirting with me. With me! In high school biology, the teacher had explained that asexual organisms, like the amoeba, divided and reproduced without a partner. When the teacher asked for more examples, someone blurted out, “Kingsway.”\u003c/p>\u003c/blockquote>\n\u003cp>For the next few years, Kingsway’s star soars in Hong Kong. He’s a household name, a teen heartthrob, and he views his accidental success as a “windfall, a blessing — what I was owed after my early, unhappy years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That is, until, his phone is hacked. Soon, a Chinese tabloid, owned by Kingway’s mentor Uncle Lo, has spread hundreds of photos with him in compromising positions from young starlets. When he returns home to his parents, tail between his legs, he’s forced to reckon with a quick, dramatic loss of status.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12041714 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a.png\" alt=\"2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a-400x600.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a-787x1180.png 787w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“What They Shared” is another powerful story in the collection, an excerpt from which was \u003ca href=\"http://www.lennyletter.com/culture/a498/what-they-shared/\">published last month in Lena Dunham’s ‘Lenny Letter.’ \u003c/a>The setting is a campground in Big Sur. Told from the perspective of two different characters, the story follows Lin and her husband Sang, both recent Chinese immigrants and software engineers. They’ve lived in the United States for four years, and Sang is ready to return home to China. Lin, not so much.\u003c/p>\n\u003cblockquote>\u003cp>Lin would always belong to dirty and cramped Beijing but here she could give herself away. If she returned to China, she could already picture the rest of her life. A baby, living in high-rise apartments with her parents, she and Sang advancing toward middle management, growing old, and playing with her own grandchild someday. Comfortable but predictable. Here, there was discovery, uncertainty, possibility.\u003c/p>\u003c/blockquote>\n\u003cp>There’s one problem. Lin has recently been laid off from her job at a failing startup, and she doesn’t have a green card. To make matters worse, she hasn’t told her husband about the layoff. The lie creates a brittle tension that underlies a camping trip with Lin’s parents who are visiting from China, and who find camping baffling.\u003c/p>\n\u003cblockquote>\u003cp>In China, camping was considered a Western idiosyncrasy. People did not buy expensive gear to sleep on the ground. Why strive to be uncomfortable, when you had a bed that your ancestors can only dream of?\u003c/p>\u003c/blockquote>\n\u003cp>The second character, Aileen, a first-generation Chinese American and San Francisco native, is camping at the site next to Lin. Surrounded by her boyfriend’s white, upper-middle-class jock friends, Aileen acutely feels her outsider status. She cringes at the Chinese character tattooed on a woman named Janey’s bicep, the references to Buddhism: “White people who were more Chinese then her made Aileen feel guilty.”\u003c/p>\n\u003cp>Later, Aileen wonders whether Reed will ever understand her completely — or will culture always stand in the way?\u003c/p>\n\u003cblockquote>\u003cp>She and Reed never talked about the slights, the little judgements, and assumptions that people made. Your English is excellent. Your eyes look tired. Would he ever understand that the world saw her different? Maybe he thought they had moved beyond the need for discussion. What she feared was that he didn’t think about it at all.\u003c/p>\u003c/blockquote>\n\u003cp>The juxtaposition of the two women’s stories, and an eventual meeting in a bathroom where they size each other up, work well to capture the ways in which culture and assimilation can become a vise on the soul.\u003c/p>\n\u003cp>Hua excels not just at creating underlying tensions for her characters. She also manages to turn what might be mundane into high drama. In “The Shot,” a fiery Southern California golf course becomes the site of an epic battle of will (with a side of regret) and an expected semi-tragic ending. In “The Older the Ginger,” an elderly cook returns to his village in China after years of toiling anonymously in San Francisco Chinatown restaurant kitchens to find himself steeped in an altogether different identity. And in “The Responsibility of Deceit,” a young Chinese man finally comes to terms with being gay and releases the weight of his secrets.\u003c/p>\n\u003cp>What lies at the core of the book is the unhappiness that tends to follow secrets and betrayal. When Anna, a middle-aged woman on a solo camping trip, after her husband dies of a brain aneurysm, reflects on an abortion she’d had after cheating on him, she thinks “Although she kept this secret to protect him, she hadn’t realized it would distance them.”\u003c/p>\n\u003cp>It’s a hard lesson learned, and one that most of the characters in \u003cem>Deceit and Other Possibilities\u003c/em> eventually take to heart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Vanessa Hua celebrates a book launch for \u003cstrong>Deceit and Other Possibilities\u003c/strong> on Wednesday, Oct. 5, at the Booksmith in San Francisco. \u003ca href=\"http://www.vanessahua.com/events/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Vanessa Hua's new collection of stories is bound together by the unhappiness that tends to follow secrets and betrayal.",
"status": "publish",
"parent": 0,
"modified": 1726700353,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1144
},
"headData": {
"title": "Temptation and Consequence in Vanessa Hua's 'Deceit and Other Possibilities' | KQED",
"description": "Vanessa Hua's new collection of stories is bound together by the unhappiness that tends to follow secrets and betrayal.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Temptation and Consequence in Vanessa Hua's 'Deceit and Other Possibilities'",
"datePublished": "2016-09-11T08:00:27-07:00",
"dateModified": "2024-09-18T15:59:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "493505102",
"path": "/arts/12040942/temptation-and-consequence-in-vanessa-huas-deceit-and-other-possibilities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lies, betrayal, cheating, heartbreak — these are the themes that run through Vanessa Hua’s debut story collection \u003ca href=\"http://aquariuspress.myshopify.com/products/deceit-and-other-possibilities-pre-order\">\u003cem>Deceit and Other Possibilities\u003c/em>\u003c/a>. Out this month on \u003ca href=\"http://aquariuspress.myshopify.com/products/deceit-and-other-possibilities-pre-order\">Willow Books\u003c/a> (Hua was the publishing imprint’s grand prize winner for prose), the stories here are filled with desperate, confused, liminal people making questionable life choices. The American-born Hong Kong movie star facing a sex scandal of epic proportions. The defrocked 21st-century pastor looking to make a comeback in Hong Kong, by any means necessary. A woman whose husband’s sudden death forces her to reflect on their mutual history of infidelity. \u003c/p>\n\u003cp>Many of these stories take place in, or peripherally involve, the San Francisco Bay Area — no surprise since Hua, \u003ca href=\"http://www.sfchronicle.com/author/vanessa-hua/\">a \u003cem>San Francisco Chronicle\u003c/em> columnist\u003c/a>, lives locally. The daughter of Chinese immigrants, she’s written before about what it’s like to grow up between cultures, and that tension is often explored in these stories.\u003c/p>\n\u003cp>In “Line, Please,” the memorable opening story, Kingsway Lee is a Bay Area-born young Chinese-American man who moves to Hong Kong in his late teens and stumbles into a movie career, becoming a sudden sex symbol. His parents back in America couldn’t care less; to them, he’ll always be the college dropout that never became a doctor. Across the ocean, Lee finds a new life, a “bigger, brighter version, me all along, like a moth’s hidden brilliance, exposed in ultraviolet.”\u003c/p>\n\u003cp>At a commercial shoot, he experiences a sense of power for the first time in his life. Here he is desired, his Western manners and Chinese appearance making him a charmed creature.\u003c/p>\n\u003cblockquote>\u003cp>The photo shoot for a bottled grass jelly drink seemed legit. The scout didn’t fleece me with an up-front fee, and miraculously, the make-up artist with the smoky voice and smoky eyes seemed to be flirting with me. With me! In high school biology, the teacher had explained that asexual organisms, like the amoeba, divided and reproduced without a partner. When the teacher asked for more examples, someone blurted out, “Kingsway.”\u003c/p>\u003c/blockquote>\n\u003cp>For the next few years, Kingsway’s star soars in Hong Kong. He’s a household name, a teen heartthrob, and he views his accidental success as a “windfall, a blessing — what I was owed after my early, unhappy years.”\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>That is, until, his phone is hacked. Soon, a Chinese tabloid, owned by Kingway’s mentor Uncle Lo, has spread hundreds of photos with him in compromising positions from young starlets. When he returns home to his parents, tail between his legs, he’s forced to reckon with a quick, dramatic loss of status.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12041714 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a.png\" alt=\"2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a-400x600.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016-02-02-vanessa-hua-deceit-and-other-possibilities-book-cover-design-04a-787x1180.png 787w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“What They Shared” is another powerful story in the collection, an excerpt from which was \u003ca href=\"http://www.lennyletter.com/culture/a498/what-they-shared/\">published last month in Lena Dunham’s ‘Lenny Letter.’ \u003c/a>The setting is a campground in Big Sur. Told from the perspective of two different characters, the story follows Lin and her husband Sang, both recent Chinese immigrants and software engineers. They’ve lived in the United States for four years, and Sang is ready to return home to China. Lin, not so much.\u003c/p>\n\u003cblockquote>\u003cp>Lin would always belong to dirty and cramped Beijing but here she could give herself away. If she returned to China, she could already picture the rest of her life. A baby, living in high-rise apartments with her parents, she and Sang advancing toward middle management, growing old, and playing with her own grandchild someday. Comfortable but predictable. Here, there was discovery, uncertainty, possibility.\u003c/p>\u003c/blockquote>\n\u003cp>There’s one problem. Lin has recently been laid off from her job at a failing startup, and she doesn’t have a green card. To make matters worse, she hasn’t told her husband about the layoff. The lie creates a brittle tension that underlies a camping trip with Lin’s parents who are visiting from China, and who find camping baffling.\u003c/p>\n\u003cblockquote>\u003cp>In China, camping was considered a Western idiosyncrasy. People did not buy expensive gear to sleep on the ground. Why strive to be uncomfortable, when you had a bed that your ancestors can only dream of?\u003c/p>\u003c/blockquote>\n\u003cp>The second character, Aileen, a first-generation Chinese American and San Francisco native, is camping at the site next to Lin. Surrounded by her boyfriend’s white, upper-middle-class jock friends, Aileen acutely feels her outsider status. She cringes at the Chinese character tattooed on a woman named Janey’s bicep, the references to Buddhism: “White people who were more Chinese then her made Aileen feel guilty.”\u003c/p>\n\u003cp>Later, Aileen wonders whether Reed will ever understand her completely — or will culture always stand in the way?\u003c/p>\n\u003cblockquote>\u003cp>She and Reed never talked about the slights, the little judgements, and assumptions that people made. Your English is excellent. Your eyes look tired. Would he ever understand that the world saw her different? Maybe he thought they had moved beyond the need for discussion. What she feared was that he didn’t think about it at all.\u003c/p>\u003c/blockquote>\n\u003cp>The juxtaposition of the two women’s stories, and an eventual meeting in a bathroom where they size each other up, work well to capture the ways in which culture and assimilation can become a vise on the soul.\u003c/p>\n\u003cp>Hua excels not just at creating underlying tensions for her characters. She also manages to turn what might be mundane into high drama. In “The Shot,” a fiery Southern California golf course becomes the site of an epic battle of will (with a side of regret) and an expected semi-tragic ending. In “The Older the Ginger,” an elderly cook returns to his village in China after years of toiling anonymously in San Francisco Chinatown restaurant kitchens to find himself steeped in an altogether different identity. And in “The Responsibility of Deceit,” a young Chinese man finally comes to terms with being gay and releases the weight of his secrets.\u003c/p>\n\u003cp>What lies at the core of the book is the unhappiness that tends to follow secrets and betrayal. When Anna, a middle-aged woman on a solo camping trip, after her husband dies of a brain aneurysm, reflects on an abortion she’d had after cheating on him, she thinks “Although she kept this secret to protect him, she hadn’t realized it would distance them.”\u003c/p>\n\u003cp>It’s a hard lesson learned, and one that most of the characters in \u003cem>Deceit and Other Possibilities\u003c/em> eventually take to heart.\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>Vanessa Hua celebrates a book launch for \u003cstrong>Deceit and Other Possibilities\u003c/strong> on Wednesday, Oct. 5, at the Booksmith in San Francisco. \u003ca href=\"http://www.vanessahua.com/events/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12040942/temptation-and-consequence-in-vanessa-huas-deceit-and-other-possibilities",
"authors": [
"3224"
],
"categories": [
"arts_73"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12053065",
"label": "arts"
},
"arts_12042706": {
"type": "posts",
"id": "arts_12042706",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12042706",
"score": null,
"sort": [
1473429620000
]
},
"guestAuthors": [],
"slug": "on-london-road-murder-music-and-british-lower-middle-class-manners",
"title": "On 'London Road,' Murder, Music and British Lower-Middle-Class Manners",
"publishDate": 1473429620,
"format": "standard",
"headTitle": "On ‘London Road,’ Murder, Music and British Lower-Middle-Class Manners | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the climax, \u003cem>London Road\u003c/em> administers a well-aimed kick to complacent liberalism when the heroic organizer of the community’s rebirth, a single parent named Julie played by Olivia Colman, delivers a frank opinion about the streetwalkers’ fate, while her teenaged daughter squirms on the couch beside her. As Shirley Jackson so well understood in her masterpiece, \u003cem>The Lottery\u003c/em>, no community coheres without its sacrificial lamb. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=On+%27London+Road%2C%27+Murder%2C+Music+And+British+Lower-Middle-Class+Manners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "In a British film based on an award-winning 2011 stage musical, a suburban community is riven by paranoia in the wake of the murder of five sex workers.",
"status": "publish",
"parent": 0,
"modified": 1726705276,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 692
},
"headData": {
"title": "On 'London Road,' Murder, Music and British Lower-Middle-Class Manners | KQED",
"description": "In a British film based on an award-winning 2011 stage musical, a suburban community is riven by paranoia in the wake of the murder of five sex workers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On 'London Road,' Murder, Music and British Lower-Middle-Class Manners",
"datePublished": "2016-09-09T07:00:20-07:00",
"dateModified": "2024-09-18T17:21:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Nicola Dove",
"nprByline": "Ella Taylor",
"nprImageAgency": "Nicola Dove",
"nprStoryId": "493012044",
"nprApiLink": "http://api.npr.org/query?id=493012044&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/09/08/493012044/on-london-road-murder-music-and-british-lower-middle-class-manners?ft=nprml&f=493012044",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 08 Sep 2016 17:00:00 -0400",
"nprStoryDate": "Thu, 08 Sep 2016 17:00:21 -0400",
"nprLastModifiedDate": "Thu, 08 Sep 2016 17:00:21 -0400",
"path": "/arts/12042706/on-london-road-murder-music-and-british-lower-middle-class-manners",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the climax, \u003cem>London Road\u003c/em> administers a well-aimed kick to complacent liberalism when the heroic organizer of the community’s rebirth, a single parent named Julie played by Olivia Colman, delivers a frank opinion about the streetwalkers’ fate, while her teenaged daughter squirms on the couch beside her. As Shirley Jackson so well understood in her masterpiece, \u003cem>The Lottery\u003c/em>, no community coheres without its sacrificial lamb. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=On+%27London+Road%2C%27+Murder%2C+Music+And+British+Lower-Middle-Class+Manners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12042706/on-london-road-murder-music-and-british-lower-middle-class-manners",
"authors": [
"byline_arts_12042706"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12042707",
"label": "arts_137"
},
"arts_12029369": {
"type": "posts",
"id": "arts_12029369",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12029369",
"score": null,
"sort": [
1473372030000
]
},
"guestAuthors": [],
"slug": "is-it-possible-to-fight-gentrification-and-win",
"title": "Is it Possible to Fight Gentrification and Win?",
"publishDate": 1473372030,
"format": "standard",
"headTitle": "Is it Possible to Fight Gentrification and Win? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://www.randomparts.org/boom-the-art-of-resistance/\" target=\"_blank\" rel=\"noopener\">\u003ci>Boom: The Art of Resistance\u003c/i>\u003c/a> isn’t on display in a typical gallery, but in the rented home of an East Oakland resident, Juan Carlos Quintana, a social worker and community member. Bringing together history, video and political protest art, the show is a collaborative effort of both organizations and individuals from around the Bay Area. It serves as a reminder that despite the region’s cultural changes and rising rent prices, a solid crew of artists, activists and organizers are still here resisting — each in their own way.\u003c/p>\n\u003cp>“The fact that this show isn’t in a typical institutional space feels better,” says curator Leslie Dreyer, an artist and housing rights organizer and advocate. Dreyer first took over the gallery space, then the kitchen area and finally the roof above the house to showcase all of the art involved in \u003ci>Boom\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_12029373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12029373 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/20160827_120509-800x450.jpg\" alt=\"A variety of art takes over the gallery as well as the kitchen and roof of the house. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A variety of art takes over the gallery as well as the kitchen and roof of the house.\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, the show feels as though it is taking on too much. \u003ci>Boom\u003c/i> serves as a visual archive of Bay Area anti-displacement tactics, featuring over a dozen projects.\u003c/p>\n\u003cp>How can all these different people, organizations and art be part of the same larger struggle? But as Dreyer says, the many voices at play are intersectional and interconnected. Here’s a glimpse into three projects on display and the tactics they use to fight gentrification:\u003c/p>\n\u003cp>\u003cstrong>Leslie Dreyer and the San Francisco Anti-Displacement Coalition (Tactic: Unsanctioned Installation/Tactical Intervention)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In November 2015, on the day before San Francisco voted on \u003ca href=\"http://www.sfgate.com/bayarea/article/Prop-F-Measure-to-restrict-Airbnb-rentals-6609176.php\" target=\"_blank\" rel=\"noopener\">Proposition F\u003c/a>, a group arrived at the Airbnb headquarters. “I do a lot of performative intervention work,” says Dreyer. The group carried painted banners, balloons and boxes of pizza; the Brass Liberation Orchestra provided music.\u003c/p>\n\u003cp>In collaboration with multiple San Francisco housing groups, Dreyer formed the action team to highlight the relationship between wealth inequality, evictions and homelessness. Their action publicly demanded a right to homes in a city where many are being pushed out.\u003c/p>\n\u003cp>https://www.instagram.com/p/9mIb9pmddJ/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Sogorea Te’ Land Trust and Shummi Land Tax (Tactics: Land Trust, Land Reclamation, Prefigurative Program)\u003c/strong>\u003c/p>\n\u003cp>A poster created by artists and printmakers Jesus Barraza and Melanie Cervantes of \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a> and a map of indigenous communities serve as reminders that, before many of us arrived on this land, there were indigenous people living in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_12029375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12029375 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/20160827_120616-800x450.jpg\" alt=\"Poster art by Dignidad Rebelde\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster art by Dignidad Rebelde\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://sogoreate-landtrust.com/our-vision/\">Sogorea Te’ Land Trust\u003c/a> is an urban indigenous women-led community organization that facilitates the return of Chochenyo and Karkin Ohlone lands to Indigenous stewardship.\u003c/p>\n\u003cp>“For us, much of the movement work we do is about the intersection of relationships, trust and politics,” says Cervantes, adding, “As Xicana/os we find it deeply important to address how settler colonialism undergirds the country we live in and is constantly reproduced.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/111030450?byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Amara T. Smith and Ellen Sebastian Chang’s \u003ci>House/Full of Black Women\u003c/i> (Tactic: Public Performance Ritual, Public Intervention)\u003c/strong>\u003c/p>\n\u003cp>Women dressed all in white walk down Oakland streets looking like ghosts in the dark of night. They wear hats and carry parasols, but the purpose is unclear. \u003ci>House/Full of Black Women\u003c/i> describes itself as a “multi-site-specific performance ritual project addressing the displacement, wellbeing and sex-trafficking of Black women and girls in Oakland.” The work is performed as a series of ritual-based episodes throughout Oakland, taking place between 2016 and 2018.\u003c/p>\n\u003cp>Inspired by the lantern laws of the late 19th and early 20th centuries, which required slaves and indigenous people to carry lit lanterns so their movements could be tracked and surveilled. Ellen Sebastian Chang tells me the episodes are about ritual and purpose. “The intention was very much inspired by Audre Lorde, ‘poetry is not a luxury’ and the understanding that we have to look at the dark ancestral spiritual transformation for our survival.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/172766839?byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The closing event and discussion for \u003cb>Boom: The Art of Resistance\u003c/b> takes place on Saturday, Sept. 10, 4-8pm at Random Parts in Oakland. For more information visit \u003ca href=\"http://www.randomparts.org/boom-the-art-of-resistance/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A show at Random Parts in Oakland gathers over a dozen anti-displacement projects, proving that despite rising rents, artists and advocates are still here resisting.",
"status": "publish",
"parent": 0,
"modified": 1726704713,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 709
},
"headData": {
"title": "Is it Possible to Fight Gentrification and Win? | KQED",
"description": "A show at Random Parts in Oakland gathers over a dozen anti-displacement projects, proving that despite rising rents, artists and advocates are still here resisting.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Is it Possible to Fight Gentrification and Win?",
"datePublished": "2016-09-08T15:00:30-07:00",
"dateModified": "2024-09-18T17:11:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12029369/is-it-possible-to-fight-gentrification-and-win",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.randomparts.org/boom-the-art-of-resistance/\" target=\"_blank\" rel=\"noopener\">\u003ci>Boom: The Art of Resistance\u003c/i>\u003c/a> isn’t on display in a typical gallery, but in the rented home of an East Oakland resident, Juan Carlos Quintana, a social worker and community member. Bringing together history, video and political protest art, the show is a collaborative effort of both organizations and individuals from around the Bay Area. It serves as a reminder that despite the region’s cultural changes and rising rent prices, a solid crew of artists, activists and organizers are still here resisting — each in their own way.\u003c/p>\n\u003cp>“The fact that this show isn’t in a typical institutional space feels better,” says curator Leslie Dreyer, an artist and housing rights organizer and advocate. Dreyer first took over the gallery space, then the kitchen area and finally the roof above the house to showcase all of the art involved in \u003ci>Boom\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_12029373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12029373 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/20160827_120509-800x450.jpg\" alt=\"A variety of art takes over the gallery as well as the kitchen and roof of the house. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120509-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A variety of art takes over the gallery as well as the kitchen and roof of the house.\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, the show feels as though it is taking on too much. \u003ci>Boom\u003c/i> serves as a visual archive of Bay Area anti-displacement tactics, featuring over a dozen projects.\u003c/p>\n\u003cp>How can all these different people, organizations and art be part of the same larger struggle? But as Dreyer says, the many voices at play are intersectional and interconnected. Here’s a glimpse into three projects on display and the tactics they use to fight gentrification:\u003c/p>\n\u003cp>\u003cstrong>Leslie Dreyer and the San Francisco Anti-Displacement Coalition (Tactic: Unsanctioned Installation/Tactical Intervention)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In November 2015, on the day before San Francisco voted on \u003ca href=\"http://www.sfgate.com/bayarea/article/Prop-F-Measure-to-restrict-Airbnb-rentals-6609176.php\" target=\"_blank\" rel=\"noopener\">Proposition F\u003c/a>, a group arrived at the Airbnb headquarters. “I do a lot of performative intervention work,” says Dreyer. The group carried painted banners, balloons and boxes of pizza; the Brass Liberation Orchestra provided music.\u003c/p>\n\u003cp>In collaboration with multiple San Francisco housing groups, Dreyer formed the action team to highlight the relationship between wealth inequality, evictions and homelessness. Their action publicly demanded a right to homes in a city where many are being pushed out.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/9mIb9pmddJ/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Sogorea Te’ Land Trust and Shummi Land Tax (Tactics: Land Trust, Land Reclamation, Prefigurative Program)\u003c/strong>\u003c/p>\n\u003cp>A poster created by artists and printmakers Jesus Barraza and Melanie Cervantes of \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a> and a map of indigenous communities serve as reminders that, before many of us arrived on this land, there were indigenous people living in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_12029375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12029375 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/20160827_120616-800x450.jpg\" alt=\"Poster art by Dignidad Rebelde\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160827_120616-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster art by Dignidad Rebelde\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://sogoreate-landtrust.com/our-vision/\">Sogorea Te’ Land Trust\u003c/a> is an urban indigenous women-led community organization that facilitates the return of Chochenyo and Karkin Ohlone lands to Indigenous stewardship.\u003c/p>\n\u003cp>“For us, much of the movement work we do is about the intersection of relationships, trust and politics,” says Cervantes, adding, “As Xicana/os we find it deeply important to address how settler colonialism undergirds the country we live in and is constantly reproduced.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/111030450?byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Amara T. Smith and Ellen Sebastian Chang’s \u003ci>House/Full of Black Women\u003c/i> (Tactic: Public Performance Ritual, Public Intervention)\u003c/strong>\u003c/p>\n\u003cp>Women dressed all in white walk down Oakland streets looking like ghosts in the dark of night. They wear hats and carry parasols, but the purpose is unclear. \u003ci>House/Full of Black Women\u003c/i> describes itself as a “multi-site-specific performance ritual project addressing the displacement, wellbeing and sex-trafficking of Black women and girls in Oakland.” The work is performed as a series of ritual-based episodes throughout Oakland, taking place between 2016 and 2018.\u003c/p>\n\u003cp>Inspired by the lantern laws of the late 19th and early 20th centuries, which required slaves and indigenous people to carry lit lanterns so their movements could be tracked and surveilled. Ellen Sebastian Chang tells me the episodes are about ritual and purpose. “The intention was very much inspired by Audre Lorde, ‘poetry is not a luxury’ and the understanding that we have to look at the dark ancestral spiritual transformation for our survival.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/172766839?byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The closing event and discussion for \u003cb>Boom: The Art of Resistance\u003c/b> takes place on Saturday, Sept. 10, 4-8pm at Random Parts in Oakland. For more information visit \u003ca href=\"http://www.randomparts.org/boom-the-art-of-resistance/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12029369/is-it-possible-to-fight-gentrification-and-win",
"authors": [
"3245"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12039052",
"label": "arts"
},
"arts_11998042": {
"type": "posts",
"id": "arts_11998042",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11998042",
"score": null,
"sort": [
1473188413000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1473188413,
"format": "standard",
"title": "Orderly But Exuberant Textiles Mine Minimalism at the de Young",
"headTitle": "Orderly But Exuberant Textiles Mine Minimalism at the de Young | KQED",
"content": "\u003cp>“When a textile is following its core principles, it is minimalist,” says Jill D’Alessandro, curator of \u003ca href=\"https://deyoung.famsf.org/exhibitions/grid-textiles-and-minimalism\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Grid: Textiles and Minimalism\u003c/em>\u003c/a>, on view at San Francisco’s de Young through Feb. 12, 2017.\u003c/p>\n\u003cp>The exhibition presents over two dozen textiles from the museum’s permanent collection. Dating from the late 18th century to the present, and made of materials ranging from paper mulberry bark to sheep’s wool to silk, these quilts, tunics, ceremonial shawls, altar cloths and contemporary pieces are unified by minimalist aesthetics. Free of ornamentation, the composition of each was preconceived by the artist and dictated by regular, symmetrical or gridded arrangements.\u003c/p>\n\u003cfigure id=\"attachment_12032273\" class=\"wp-caption alignright\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg\" alt='Quilt, \"Checkerboard\" pattern, ca. 1900.' width=\"571\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-535x600.jpg 535w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Quilt, “Checkerboard” pattern, ca. 1900. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inventive installation of the exhibition enhances a viewer’s experience; grouped by a progression of color — from reds and oranges to chocolatey browns to cooler blues and whites — many of the textiles hang from displays that expose both their front and back sides. Thanks to this presentation, we can look through them as much as at them; we can imagine them swaying, sense their weight and how they might bunch when wrapped. We can decipher which are translucent, and which are dense enough to inhibit the passage of light.\u003c/p>\n\u003cp>D’Alessandro calls \u003ca href=\"https://sites.google.com/site/rebeccamedel2010/\" target=\"_blank\" rel=\"noopener\">Rebecca R. Medel\u003c/a>’s \u003cem>Wall of Windows\u003c/em>, a ghostly, 106-inch-tall cotton and linen piece dominating one end of the gallery, “a phenomenal feat,” given its “extremely mathematically challenging” approach to combining knotted netting with double-ikat dyeing. “My work is about the spiritual, about infinity,” Medel says. One indeed feels this cosmic push, staring into the intricate layers of the commanding piece.\u003c/p>\n\u003cfigure id=\"attachment_12032274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg\" alt=\"Installation view of 'On the Grid: Textiles and Minimalism.'\" width=\"1200\" height=\"781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-960x625.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘On the Grid: Textiles and Minimalism.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some textiles on view, like an energetic Senegalese cotton skirt panel (\u003cem>pagne\u003c/em>), featuring loosely aligned wax printed squares, embrace more freedom than we tend to associate with minimalism, loosening the borders of the oft-debated and sometimes casually used term.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A cotton coverlet, made in the United States in 1960, at the height of op art’s popularity, achieves a transfixing effect through an incremental reduction of the size of the squares on each plane. The pattern appears to undulate.\u003c/p>\n\u003cp>Made in the Southern Altiplano in Bolivia by the Aymara people, a pre-19th-century ceremonial shawl (\u003cem>llacolla\u003c/em>), uses a warp-faced plain weave to blend two shades of blue yarns with brown, creating a rich composition that appears nearly black from a distance.\u003c/p>\n\u003cfigure id=\"attachment_12032272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg\" alt=\"Installation view of 'Kay Sekimachi: Student, Teacher, Artist.'\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kay Sekimachi: Student, Teacher, Artist.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of these textiles seem to own and track a stretch of time, to present a kind of organized wilderness as it makes vivid and explicit the artist’s process. The harmony these pieces achieve intersects with a pure sensation of possibility.\u003c/p>\n\u003cp>A small and excellent companion exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/kay-sekimachi-student-teacher-artist\" target=\"_blank\" rel=\"noopener\">\u003cem>Kay Sekimachi: Student, Teacher, Artist\u003c/em>\u003c/a>, lends a fascinating look into postwar fiber art pioneer, lifelong teacher, and San Francisco native Kay Sekimachi’s radical and spirited practice. Highlights include \u003cem>Emotional Stripes\u003c/em> and \u003cem>Intellectual Stripes\u003c/em>, studies created in response to an assignment she received early in her six-decade-plus career, and \u003cem>Katsura\u003c/em>, an elegant and ominous jellyfish-inspired monofilament hanging she made in 1971.\u003c/p>\n\u003cfigure id=\"attachment_12032275\" class=\"wp-caption alignright\" style=\"max-width: 340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg\" alt=\"Kay Sekimachi, 'Katsura,' 1971.\" width=\"340\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg 340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640-319x600.jpg 319w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003cfigcaption class=\"wp-caption-text\">Kay Sekimachi, ‘Katsura,’ 1971. \u003ccite>(Photo by M. Lee Fatherree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.gyongylaky.com/assets/pages/art.htm\" target=\"_blank\" rel=\"noopener\">Gyöngy Laky\u003c/a> (whose piece \u003cem>Laura’s Quilt\u003c/em>, made of applewood and vinyl-coated nails, is hung on the title wall of \u003cem>On the Grid\u003c/em>) describes Sekimachi as “like a scientist.” Sekimachi’s unyielding curiosity and experimental application of the double-weave technique is indeed palpable. It is a unique joy to see the artist’s early studies alongside her later and most recent work (linen necklaces, book-like sculptures and woven boxes). Of \u003cem>Katsura\u003c/em>, Sekimachi says, “I felt like an explorer because no one else was using that material, so no one could tell me what to do, and the possibilities seemed endless.”\u003c/p>\n\u003cp>In Danish poet Inger Christensen’s \u003ca href=\"http://www.ndbooks.com/book/alphabet/\">\u003cem>alphabet\u003c/em>\u003c/a> (translated by Susanna Nied and published by New Directions), the Fibonacci sequence acts as structural guide for the book-length poem. Like a weaving, \u003cem>alphabet\u003c/em> begins with a small action of composition — two phrases repeated (“apricot trees exist, apricot trees exist”) — and via loyalty to its mathematical constraint, awakens and allows an entire lush and stirring world to breathe honestly within its frame. Seven pages in, as momentum builds and her field expands, Christensen writes, “given limits exist, streets, oblivion … eagerness exists, given limits.”\u003c/p>\n\u003cp>Both \u003ci>On the Grid\u003c/i> and \u003ci>Kay Sekimachi\u003c/i> inspire audiences to consider how applied constraints — a simultaneous trust in and pressure on the material at hand, and a dedication to set organizing principles or techniques — can lead to sensuous and evocative work in all mediums.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>On the Grid: Textiles and Minimalism\u003c/b> is on view at the de Young through Feb. 12, 2017. \u003cb>Kay Sekimachi: Student, Teacher, Artist\u003c/b> is on view through Nov. 6, 2016. For tickets and more information, visit \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 873,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705033126,
"excerpt": "Two textile exhibitions show how attention to material constraints can yield sensuous and evocative results. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two textile exhibitions show how attention to material constraints can yield sensuous and evocative results. ",
"title": "Orderly But Exuberant Textiles Mine Minimalism at the de Young | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Orderly But Exuberant Textiles Mine Minimalism at the de Young",
"datePublished": "2016-09-06T12:00:13-07:00",
"dateModified": "2024-01-11T20:18:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "orderly-but-exuberant-textiles-mine-minimalism-at-the-de-young",
"status": "publish",
"sticky": false,
"path": "/arts/11998042/orderly-but-exuberant-textiles-mine-minimalism-at-the-de-young",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“When a textile is following its core principles, it is minimalist,” says Jill D’Alessandro, curator of \u003ca href=\"https://deyoung.famsf.org/exhibitions/grid-textiles-and-minimalism\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Grid: Textiles and Minimalism\u003c/em>\u003c/a>, on view at San Francisco’s de Young through Feb. 12, 2017.\u003c/p>\n\u003cp>The exhibition presents over two dozen textiles from the museum’s permanent collection. Dating from the late 18th century to the present, and made of materials ranging from paper mulberry bark to sheep’s wool to silk, these quilts, tunics, ceremonial shawls, altar cloths and contemporary pieces are unified by minimalist aesthetics. Free of ornamentation, the composition of each was preconceived by the artist and dictated by regular, symmetrical or gridded arrangements.\u003c/p>\n\u003cfigure id=\"attachment_12032273\" class=\"wp-caption alignright\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg\" alt='Quilt, \"Checkerboard\" pattern, ca. 1900.' width=\"571\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-535x600.jpg 535w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Quilt, “Checkerboard” pattern, ca. 1900. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inventive installation of the exhibition enhances a viewer’s experience; grouped by a progression of color — from reds and oranges to chocolatey browns to cooler blues and whites — many of the textiles hang from displays that expose both their front and back sides. Thanks to this presentation, we can look through them as much as at them; we can imagine them swaying, sense their weight and how they might bunch when wrapped. We can decipher which are translucent, and which are dense enough to inhibit the passage of light.\u003c/p>\n\u003cp>D’Alessandro calls \u003ca href=\"https://sites.google.com/site/rebeccamedel2010/\" target=\"_blank\" rel=\"noopener\">Rebecca R. Medel\u003c/a>’s \u003cem>Wall of Windows\u003c/em>, a ghostly, 106-inch-tall cotton and linen piece dominating one end of the gallery, “a phenomenal feat,” given its “extremely mathematically challenging” approach to combining knotted netting with double-ikat dyeing. “My work is about the spiritual, about infinity,” Medel says. One indeed feels this cosmic push, staring into the intricate layers of the commanding piece.\u003c/p>\n\u003cfigure id=\"attachment_12032274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg\" alt=\"Installation view of 'On the Grid: Textiles and Minimalism.'\" width=\"1200\" height=\"781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-960x625.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘On the Grid: Textiles and Minimalism.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some textiles on view, like an energetic Senegalese cotton skirt panel (\u003cem>pagne\u003c/em>), featuring loosely aligned wax printed squares, embrace more freedom than we tend to associate with minimalism, loosening the borders of the oft-debated and sometimes casually used term.\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>A cotton coverlet, made in the United States in 1960, at the height of op art’s popularity, achieves a transfixing effect through an incremental reduction of the size of the squares on each plane. The pattern appears to undulate.\u003c/p>\n\u003cp>Made in the Southern Altiplano in Bolivia by the Aymara people, a pre-19th-century ceremonial shawl (\u003cem>llacolla\u003c/em>), uses a warp-faced plain weave to blend two shades of blue yarns with brown, creating a rich composition that appears nearly black from a distance.\u003c/p>\n\u003cfigure id=\"attachment_12032272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg\" alt=\"Installation view of 'Kay Sekimachi: Student, Teacher, Artist.'\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kay Sekimachi: Student, Teacher, Artist.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of these textiles seem to own and track a stretch of time, to present a kind of organized wilderness as it makes vivid and explicit the artist’s process. The harmony these pieces achieve intersects with a pure sensation of possibility.\u003c/p>\n\u003cp>A small and excellent companion exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/kay-sekimachi-student-teacher-artist\" target=\"_blank\" rel=\"noopener\">\u003cem>Kay Sekimachi: Student, Teacher, Artist\u003c/em>\u003c/a>, lends a fascinating look into postwar fiber art pioneer, lifelong teacher, and San Francisco native Kay Sekimachi’s radical and spirited practice. Highlights include \u003cem>Emotional Stripes\u003c/em> and \u003cem>Intellectual Stripes\u003c/em>, studies created in response to an assignment she received early in her six-decade-plus career, and \u003cem>Katsura\u003c/em>, an elegant and ominous jellyfish-inspired monofilament hanging she made in 1971.\u003c/p>\n\u003cfigure id=\"attachment_12032275\" class=\"wp-caption alignright\" style=\"max-width: 340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg\" alt=\"Kay Sekimachi, 'Katsura,' 1971.\" width=\"340\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg 340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640-319x600.jpg 319w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003cfigcaption class=\"wp-caption-text\">Kay Sekimachi, ‘Katsura,’ 1971. \u003ccite>(Photo by M. Lee Fatherree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.gyongylaky.com/assets/pages/art.htm\" target=\"_blank\" rel=\"noopener\">Gyöngy Laky\u003c/a> (whose piece \u003cem>Laura’s Quilt\u003c/em>, made of applewood and vinyl-coated nails, is hung on the title wall of \u003cem>On the Grid\u003c/em>) describes Sekimachi as “like a scientist.” Sekimachi’s unyielding curiosity and experimental application of the double-weave technique is indeed palpable. It is a unique joy to see the artist’s early studies alongside her later and most recent work (linen necklaces, book-like sculptures and woven boxes). Of \u003cem>Katsura\u003c/em>, Sekimachi says, “I felt like an explorer because no one else was using that material, so no one could tell me what to do, and the possibilities seemed endless.”\u003c/p>\n\u003cp>In Danish poet Inger Christensen’s \u003ca href=\"http://www.ndbooks.com/book/alphabet/\">\u003cem>alphabet\u003c/em>\u003c/a> (translated by Susanna Nied and published by New Directions), the Fibonacci sequence acts as structural guide for the book-length poem. Like a weaving, \u003cem>alphabet\u003c/em> begins with a small action of composition — two phrases repeated (“apricot trees exist, apricot trees exist”) — and via loyalty to its mathematical constraint, awakens and allows an entire lush and stirring world to breathe honestly within its frame. Seven pages in, as momentum builds and her field expands, Christensen writes, “given limits exist, streets, oblivion … eagerness exists, given limits.”\u003c/p>\n\u003cp>Both \u003ci>On the Grid\u003c/i> and \u003ci>Kay Sekimachi\u003c/i> inspire audiences to consider how applied constraints — a simultaneous trust in and pressure on the material at hand, and a dedication to set organizing principles or techniques — can lead to sensuous and evocative work in all mediums.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>On the Grid: Textiles and Minimalism\u003c/b> is on view at the de Young through Feb. 12, 2017. \u003cb>Kay Sekimachi: Student, Teacher, Artist\u003c/b> is on view through Nov. 6, 2016. For tickets and more information, visit \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11998042/orderly-but-exuberant-textiles-mine-minimalism-at-the-de-young",
"authors": [
"8633"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12032276",
"label": "arts"
},
"arts_12011990": {
"type": "posts",
"id": "arts_12011990",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12011990",
"score": null,
"sort": [
1472828435000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1472828435,
"format": "standard",
"title": "'The Light Between Oceans' Richly Illuminates A Couple's Moral Dilemma",
"headTitle": "‘The Light Between Oceans’ Richly Illuminates A Couple’s Moral Dilemma | KQED",
"content": "\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\u003c/p>\n\u003cp>https://youtu.be/w51IR_BFGyc\u003c/p>\n\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 791,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033148,
"excerpt": "Stripped-down storytelling, stunning cinematography and finely calibrated performances make this tale of a withdrawn lighthouse-keeper and his wife vivid and compelling.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Stripped-down storytelling, stunning cinematography and finely calibrated performances make this tale of a withdrawn lighthouse-keeper and his wife vivid and compelling.",
"title": "'The Light Between Oceans' Richly Illuminates A Couple's Moral Dilemma | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Light Between Oceans' Richly Illuminates A Couple's Moral Dilemma",
"datePublished": "2016-09-02T08:00:35-07:00",
"dateModified": "2024-01-11T20:19:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-light-between-oceans-richly-illuminates-a-couples-moral-dilemma",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=492235353&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 01 Sep 2016 17:00:20 -0400",
"nprLastModifiedDate": "Thu, 01 Sep 2016 17:00:20 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/09/01/492235353/the-light-between-oceans-richly-illuminates-a-couples-moral-dilemma?ft=nprml&f=492235353",
"nprImageAgency": "Davi Russo",
"nprStoryId": "492235353",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Sep 2016 17:00:00 -0400",
"path": "/arts/12011990/the-light-between-oceans-richly-illuminates-a-couples-moral-dilemma",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\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/w51IR_BFGyc'\n title='//www.youtube.com/embed/w51IR_BFGyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\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 skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12011990/the-light-between-oceans-richly-illuminates-a-couples-moral-dilemma",
"authors": [
"byline_arts_12011990"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12011991",
"label": "arts_137"
},
"arts_12004739": {
"type": "posts",
"id": "arts_12004739",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12004739",
"score": null,
"sort": [
1472742041000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1472742041,
"format": "standard",
"title": "Oakland Opera Theater Reemerges with Musical if Gimmicky 'Uksus'",
"headTitle": "Oakland Opera Theater Reemerges with Musical if Gimmicky ‘Uksus’ | KQED",
"content": "\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 806,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705033155,
"excerpt": "Erling Wold's chamber opera based on the life of surrealist writer Daniil Kharms features inspiring music but off-putting theatrics. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Erling Wold's chamber opera based on the life of surrealist writer Daniil Kharms features inspiring music but off-putting theatrics. ",
"title": "Oakland Opera Theater Reemerges with Musical if Gimmicky 'Uksus' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Opera Theater Reemerges with Musical if Gimmicky 'Uksus'",
"datePublished": "2016-09-01T08:00:41-07:00",
"dateModified": "2024-01-11T20:19:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-opera-theater-reemerges-with-musical-if-gimmicky-uksus",
"status": "publish",
"sticky": false,
"nprStoryId": "492239197",
"path": "/arts/12004739/oakland-opera-theater-reemerges-with-musical-if-gimmicky-uksus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12004739/oakland-opera-theater-reemerges-with-musical-if-gimmicky-uksus",
"authors": [
"8660"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12006047",
"label": "arts_140"
},
"arts_11979746": {
"type": "posts",
"id": "arts_11979746",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11979746",
"score": null,
"sort": [
1472396414000
]
},
"guestAuthors": [],
"slug": "care-of-the-soul-on-michelle-teas-black-wave",
"title": "Care of the Soul: On Michelle Tea's 'Black Wave'",
"publishDate": 1472396414,
"format": "standard",
"headTitle": "Care of the Soul: On Michelle Tea’s ‘Black Wave’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When I was a fresh-faced MFA student at a San Francisco private college, we were regularly encouraged by our \u003ca href=\"http://www.daphnegottlieb.com/\">renegade\u003c/a> \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-cooke\">teachers \u003c/a>to break form, and approach our writing with openness to experimentation. I tried — and failed — to do so in my short stories, over and over. You’d think it would be easy to break the rules. It’s not.\u003c/p>\n\u003cp>So I admire Michelle Tea’s successful attempt to bring transparency to the “strange obligations of storytelling” in her latest book, the hybrid fiction-memoir \u003cem>Black Wave\u003c/em> (The Feminist Press; 2016). Last year, I \u003ca href=\"https://ww2.kqed.org/arts/2015/01/25/michelle-teas-bumpy-back-road-to-adulthood/\">interviewed Tea\u003c/a> on the release of her 2015 memoir \u003cem>How to Grow Up\u003c/em>, and at the time, she mentioned \u003cem>Black Wave\u003c/em>, explaining that she’d been working on a new memoir but had gotten waylaid midway through the process. Her ex had asked that Tea not write about their relationship, but the book’s entire narrative timeline hinged upon it. Tellingly, especially in light of the destabilized, failing world captured in \u003cem>Black Wave\u003c/em>, Tea also said of San Francisco: “The landscape I inhabited [in the 1990’s] is just gone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979749 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Cover-1.jpg\" alt=\"BW_Cover-1\" width=\"396\" height=\"576\">\u003c/p>\n\u003cp>Rather than abandoning the manuscript, Tea dug in, throwing out normative narrative expectations with the dirty bathwater. Call it the ultimate queer narrative. It works.\u003c/p>\n\u003cp>\u003cem>Black Wave\u003c/em> opens on Valencia Street at the Albion, a dive bar in the Mission District. If you’ve read Tea’s previous books — \u003cem>The Passionate Mistakes and Intricate Corruption of One Girl in America\u003c/em>, \u003cem>Valencia\u003c/em>, \u003cem>The Chelsea Whistle\u003c/em>, \u003cem>Rent Girl\u003c/em> — then you’re familiar with her tales of wild, creative, sex-fueled, drug and alcohol-drenched lifestyles in San Francisco’s queer artistic haven of the nineties. And yes, the first half of \u003cem>Black Wave\u003c/em> dwells in this same landscape, but with a twist. It’s 1999, the first tech bubble has raised rents beyond reason, yuppies are taking over the Mission, and the world is, literally, about to end. The native plants have died; the only vegetation thriving are invasive weeds like kudzo. The trees have crumbled to dust. The ocean is blanketed in a thick, poisonous fog from toxins and underwater nuclear tests. Still, everyone goes about their business, only with more sun protection, like frogs in proverbial water slowly coming to a boil. “The ocean was a giant toilet lapping at San Francisco’s edges,” Tea writes, “but mainly things were functioning.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michelle and her friends continue with their lives: partying, writing poetry, snorting cocaine cut with baby laxatives, and eventually scoring heroin. It’s not until Michelle heads south to Los Angeles with her married, androgynous lover Quinn that the reality of the world’s desolation really starts to set in.\u003c/p>\n\u003cblockquote>\u003cp>“California was on fire and once out of San Francisco the highway shimmered in the windshield like a mirage. The land on the margins was dry, even charred. The farmland decreased as they drove. The water was too ruined for effective farming and the animals were out of whack, the bugs and the birds, the pests and the pollinators. They drove past wide plowed fields whose sickly crops had been abandoned. What Do You Think That Was? Michelle asked, starting at the mangled stalks, everything hay colored underneath the brutal sun. Quinn shrugged and kept her eyes on the road.”\u003c/p>\u003c/blockquote>\n\u003cp>Once Michelle arrives in Los Angeles, the thus-far straightforward narrative begins to unravel. It’s in this second part of the novel, simply titled “Los Angeles,” that the cracks in the storytelling begin to appear. Quinn confesses that Michelle didn’t actually drive to Los Angeles with her. That in real life, Michelle had moved south with Lucretia, her gender-queer partner of eight years. But the real Lu had asked not to be included in the story, making things difficult, making that turn of events impossible.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle felt sad about all the sweet moments she would not be able to write about. The sweet parts were important, without them Michelle just look insane.”\u003c/p>\u003c/blockquote>\n\u003cp>At the same time, the sudden lacuna breaks open \u003cem>Black Wave\u003c/em>’s storytelling. Tea rises to the occasion by capturing the strange confusion of writing, the ultimate weirdness of what it means to write a life. Michelle spends pages trying to work out her novel. Should she try to make it more accessible, perhaps more straight, more white, more male, to have a wider appeal? What makes for a compelling narrator? How queer can a writer be and still possibly cross over to a larger, mainstream audience?\u003c/p>\n\u003cblockquote>\u003cp>“If Michelle had gone to college she was certain she’d have been taught how to write from the perspective of a straight, white, middle-class man. She would have to teach herself how to be universal. She could do it, it would just take time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she struggles to write the story (or screenplay, since she’s in Los Angeles), the fictional Michelle has now taken a job at an archaic used book and record store. Matt Dillon is a customer, which leads to an interesting plot twist later. Her drinking also ventures into dangerous territory, morphing from artsy wild party girl to something more akin to Nicolas Cage’s descent in \u003cem>Leaving Las Vegas\u003c/em>.\u003c/p>\n\u003cp>Los Angeles is particularly suited for apocalyptic fantasies. The used bookstore where fictional Michelle takes a job sits directly across the street from the \u003ca href=\"http://www.scientology.cc/en_US/index.html\">Scientology Celebrity Centre\u003c/a>. One of \u003cem>Black Wave\u003c/em>’ funniest moments (if you share my taste for dark humor) comes when a mass suicide occurs at the gaudy, weird complex. Michelle watches as the bodies of John Travolta, Giovanni Ribisi, Jason Lee, Kirstie Alley and Linda Blair are wheeled out on gurneys. The scene ends with people parading through the streets, chanting “U.S.A.!”, and transforming apocalyptic tragedy into nationalistic jingoism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979747 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Tea-Author-Photo.-Credit-Gretchen-Sayers.jpg\" alt=\"BW_Tea Author Photo. Credit Gretchen Sayers\" width=\"360\" height=\"454\">\u003c/p>\n\u003cp>Later, fictional Michelle has sex with a gun-wielding Matt Dillon, because, why not? The end of the world is coming and fiction allows us to do all kinds of things. And Tea has set us up for these types of outlandish possibilities in earlier pages.\u003c/p>\n\u003cblockquote>\u003cp>“This was the terrible thing about fiction, Michelle could write about whatever she wanted. She could write about dinosaurs mating with unicorns on the lost city Atlantis and some fool would read it. In the face of so many options she spun, paralyzed, overthunk.”\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s much more to \u003cem>Black Wave\u003c/em>, and for me, it will merit re-reading throughout the years. It’s about survival, sobriety, time-traveling teens, second-chance worlds, love, and everything in between. It’s earned a spot in my library next to Octavia Butler’s \u003ca href=\"https://www.goodreads.com/book/show/52397.Parable_of_the_Sower\">Parable of the Sower\u003c/a> and Claire Vaye Watkins’ \u003ca href=\"http://clairevayewatkins.com/gold-fame-citrus/\">Gold Fame Citrus\u003c/a> — both dystopian classics which place Los Angeles squarely at the center of environmental and social apocalypse. The difference in Tea’s book, and something that I quite enjoyed, is the sense that “care of the soul” — which ultimately means the ability to love deeply — still matters, even if the world outside is crumbling to the ground.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle opened a blank document. She imagined a girl whose openness to everything was its own current, pushing her into life. She remembered the feelings of love and drugs sickening her body, and felt tender towards the experience even as she was glad it was over. She felt the same about the doomed world itself, an impossible tenderness that did not blunt her relief that it was all going to end soon. She began to type.”\u003c/p>\u003c/blockquote>\n\n",
"blocks": [],
"excerpt": "Michelle Tea's latest opens in the sex-fueled, drug and alcohol-drenched queer haven of the 1990s Mission -- then veers sharply, opening the curtain on the \"strange obligations of storytelling.\"",
"status": "publish",
"parent": 0,
"modified": 1726700368,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1300
},
"headData": {
"title": "Care of the Soul: On Michelle Tea's 'Black Wave' | KQED",
"description": "Michelle Tea's latest opens in the sex-fueled, drug and alcohol-drenched queer haven of the 1990s Mission -- then veers sharply, opening the curtain on the "strange obligations of storytelling."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Care of the Soul: On Michelle Tea's 'Black Wave'",
"datePublished": "2016-08-28T08:00:14-07:00",
"dateModified": "2024-09-18T15:59:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11979746/care-of-the-soul-on-michelle-teas-black-wave",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a fresh-faced MFA student at a San Francisco private college, we were regularly encouraged by our \u003ca href=\"http://www.daphnegottlieb.com/\">renegade\u003c/a> \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-cooke\">teachers \u003c/a>to break form, and approach our writing with openness to experimentation. I tried — and failed — to do so in my short stories, over and over. You’d think it would be easy to break the rules. It’s not.\u003c/p>\n\u003cp>So I admire Michelle Tea’s successful attempt to bring transparency to the “strange obligations of storytelling” in her latest book, the hybrid fiction-memoir \u003cem>Black Wave\u003c/em> (The Feminist Press; 2016). Last year, I \u003ca href=\"https://ww2.kqed.org/arts/2015/01/25/michelle-teas-bumpy-back-road-to-adulthood/\">interviewed Tea\u003c/a> on the release of her 2015 memoir \u003cem>How to Grow Up\u003c/em>, and at the time, she mentioned \u003cem>Black Wave\u003c/em>, explaining that she’d been working on a new memoir but had gotten waylaid midway through the process. Her ex had asked that Tea not write about their relationship, but the book’s entire narrative timeline hinged upon it. Tellingly, especially in light of the destabilized, failing world captured in \u003cem>Black Wave\u003c/em>, Tea also said of San Francisco: “The landscape I inhabited [in the 1990’s] is just gone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979749 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Cover-1.jpg\" alt=\"BW_Cover-1\" width=\"396\" height=\"576\">\u003c/p>\n\u003cp>Rather than abandoning the manuscript, Tea dug in, throwing out normative narrative expectations with the dirty bathwater. Call it the ultimate queer narrative. It works.\u003c/p>\n\u003cp>\u003cem>Black Wave\u003c/em> opens on Valencia Street at the Albion, a dive bar in the Mission District. If you’ve read Tea’s previous books — \u003cem>The Passionate Mistakes and Intricate Corruption of One Girl in America\u003c/em>, \u003cem>Valencia\u003c/em>, \u003cem>The Chelsea Whistle\u003c/em>, \u003cem>Rent Girl\u003c/em> — then you’re familiar with her tales of wild, creative, sex-fueled, drug and alcohol-drenched lifestyles in San Francisco’s queer artistic haven of the nineties. And yes, the first half of \u003cem>Black Wave\u003c/em> dwells in this same landscape, but with a twist. It’s 1999, the first tech bubble has raised rents beyond reason, yuppies are taking over the Mission, and the world is, literally, about to end. The native plants have died; the only vegetation thriving are invasive weeds like kudzo. The trees have crumbled to dust. The ocean is blanketed in a thick, poisonous fog from toxins and underwater nuclear tests. Still, everyone goes about their business, only with more sun protection, like frogs in proverbial water slowly coming to a boil. “The ocean was a giant toilet lapping at San Francisco’s edges,” Tea writes, “but mainly things were functioning.”\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>Michelle and her friends continue with their lives: partying, writing poetry, snorting cocaine cut with baby laxatives, and eventually scoring heroin. It’s not until Michelle heads south to Los Angeles with her married, androgynous lover Quinn that the reality of the world’s desolation really starts to set in.\u003c/p>\n\u003cblockquote>\u003cp>“California was on fire and once out of San Francisco the highway shimmered in the windshield like a mirage. The land on the margins was dry, even charred. The farmland decreased as they drove. The water was too ruined for effective farming and the animals were out of whack, the bugs and the birds, the pests and the pollinators. They drove past wide plowed fields whose sickly crops had been abandoned. What Do You Think That Was? Michelle asked, starting at the mangled stalks, everything hay colored underneath the brutal sun. Quinn shrugged and kept her eyes on the road.”\u003c/p>\u003c/blockquote>\n\u003cp>Once Michelle arrives in Los Angeles, the thus-far straightforward narrative begins to unravel. It’s in this second part of the novel, simply titled “Los Angeles,” that the cracks in the storytelling begin to appear. Quinn confesses that Michelle didn’t actually drive to Los Angeles with her. That in real life, Michelle had moved south with Lucretia, her gender-queer partner of eight years. But the real Lu had asked not to be included in the story, making things difficult, making that turn of events impossible.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle felt sad about all the sweet moments she would not be able to write about. The sweet parts were important, without them Michelle just look insane.”\u003c/p>\u003c/blockquote>\n\u003cp>At the same time, the sudden lacuna breaks open \u003cem>Black Wave\u003c/em>’s storytelling. Tea rises to the occasion by capturing the strange confusion of writing, the ultimate weirdness of what it means to write a life. Michelle spends pages trying to work out her novel. Should she try to make it more accessible, perhaps more straight, more white, more male, to have a wider appeal? What makes for a compelling narrator? How queer can a writer be and still possibly cross over to a larger, mainstream audience?\u003c/p>\n\u003cblockquote>\u003cp>“If Michelle had gone to college she was certain she’d have been taught how to write from the perspective of a straight, white, middle-class man. She would have to teach herself how to be universal. She could do it, it would just take time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she struggles to write the story (or screenplay, since she’s in Los Angeles), the fictional Michelle has now taken a job at an archaic used book and record store. Matt Dillon is a customer, which leads to an interesting plot twist later. Her drinking also ventures into dangerous territory, morphing from artsy wild party girl to something more akin to Nicolas Cage’s descent in \u003cem>Leaving Las Vegas\u003c/em>.\u003c/p>\n\u003cp>Los Angeles is particularly suited for apocalyptic fantasies. The used bookstore where fictional Michelle takes a job sits directly across the street from the \u003ca href=\"http://www.scientology.cc/en_US/index.html\">Scientology Celebrity Centre\u003c/a>. One of \u003cem>Black Wave\u003c/em>’ funniest moments (if you share my taste for dark humor) comes when a mass suicide occurs at the gaudy, weird complex. Michelle watches as the bodies of John Travolta, Giovanni Ribisi, Jason Lee, Kirstie Alley and Linda Blair are wheeled out on gurneys. The scene ends with people parading through the streets, chanting “U.S.A.!”, and transforming apocalyptic tragedy into nationalistic jingoism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979747 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Tea-Author-Photo.-Credit-Gretchen-Sayers.jpg\" alt=\"BW_Tea Author Photo. Credit Gretchen Sayers\" width=\"360\" height=\"454\">\u003c/p>\n\u003cp>Later, fictional Michelle has sex with a gun-wielding Matt Dillon, because, why not? The end of the world is coming and fiction allows us to do all kinds of things. And Tea has set us up for these types of outlandish possibilities in earlier pages.\u003c/p>\n\u003cblockquote>\u003cp>“This was the terrible thing about fiction, Michelle could write about whatever she wanted. She could write about dinosaurs mating with unicorns on the lost city Atlantis and some fool would read it. In the face of so many options she spun, paralyzed, overthunk.”\u003c/p>\u003c/blockquote>\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>There’s much more to \u003cem>Black Wave\u003c/em>, and for me, it will merit re-reading throughout the years. It’s about survival, sobriety, time-traveling teens, second-chance worlds, love, and everything in between. It’s earned a spot in my library next to Octavia Butler’s \u003ca href=\"https://www.goodreads.com/book/show/52397.Parable_of_the_Sower\">Parable of the Sower\u003c/a> and Claire Vaye Watkins’ \u003ca href=\"http://clairevayewatkins.com/gold-fame-citrus/\">Gold Fame Citrus\u003c/a> — both dystopian classics which place Los Angeles squarely at the center of environmental and social apocalypse. The difference in Tea’s book, and something that I quite enjoyed, is the sense that “care of the soul” — which ultimately means the ability to love deeply — still matters, even if the world outside is crumbling to the ground.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle opened a blank document. She imagined a girl whose openness to everything was its own current, pushing her into life. She remembered the feelings of love and drugs sickening her body, and felt tender towards the experience even as she was glad it was over. She felt the same about the doomed world itself, an impossible tenderness that did not blunt her relief that it was all going to end soon. She began to type.”\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11979746/care-of-the-soul-on-michelle-teas-black-wave",
"authors": [
"3224"
],
"categories": [
"arts_73"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11990319",
"label": "arts"
},
"arts_11981343": {
"type": "posts",
"id": "arts_11981343",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11981343",
"score": null,
"sort": [
1472223605000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1472223605,
"format": "standard",
"title": "In A Sweet Coming-Of-Age Tale, 'Morris From America' Brings Hip-Hop To Heidelberg",
"headTitle": "In A Sweet Coming-Of-Age Tale, ‘Morris From America’ Brings Hip-Hop To Heidelberg | KQED",
"content": "\u003cp>We have become so used to movie characters who always do and say the expected movie things that it’s a shock to watch a film and encounter genuine humans. The new coming-of-age comedy \u003cem>Morris From America\u003c/em> centers around a 13-year-old aspiring rapper played with astonishing magnetism by first-time actor Markees Christmas. What’s remarkable about the film is that it sets up what could have been a bunch of pat, dumb culture-clash jokes about a black New York kid in Europe, yet never takes the easy way out. Instead, it explores and resolutely preserves its hero’s humanity.\u003c/p>\n\u003cp>https://youtu.be/AKhFNgFdbDk\u003c/p>\n\u003cp>Morris lives in Heidelberg, Germany, a picturesque old-Europe town situated midway between Frankfurt, Stuttgart, and the border with France. It’s a place with more standing Middle-Ages structures than black people, and indeed Morris is one of two: the other is his dad, Curtis (Craig Robinson), who works as a soccer coach for the local team. Morris struggles with the language, and, as Americans of any age or creed who’ve lived abroad will tell you, this is only compounded by the fact that everyone around him already speaks excellent English: imagine an older kid resorting to his second language just to bully you.\u003c/p>\n\u003cp>But on a much more elemental level, the short and slightly pudgy young man struggles with his sense of belonging, his complete inability to relate to his tall, thin, lily-white peers in the summer youth program. Racial questions bubble just underneath the surface of every scene, which the camera emphasizes by frequently isolating Morris in the frame, as though he’s constantly trying to will himself away from every uncomfortable situation. (Christmas is so natural in the role that it feels like the filmmakers really found him wandering around Heidelberg by himself.)\u003c/p>\n\u003cp>Though Morris develops a crush on the pretty Katrin (Lina Keller), who sports a “New York” T-shirt, she’s both too old for him and too pitying of him to offer much hope of fulfilling his romantic ambitions. The kid can only do that in his bedroom at night, when he throws on headphones and spits out his own rap lyrics that are hilarious in their complete sexual inexperience. (The fact that the movie is rated R, the same as last week’s absurdly filthy \u003cem>Sausage Party\u003c/em>, is further argument for the Motion Picture Association of America to start a Big Think about the \u003cem>context\u003c/em> of bad words, not just their quantity.) Another bedroom scene, late in the film, finds Morris trying out moves on his pillowcase, a tender duet that’s filmed with the care and subtlety of a traditional love scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chad Hartigan, the film’s gifted writer-director, has dealt with themes of loneliness and forced relocation before, in his 2013 micro-budget masterpiece \u003cem>This Is Martin Bonner\u003c/em>. That movie, a drama about the bond between a man just released from prison and his rehabilitation social worker, also expertly captured an incomplete sense of place, and a halfhearted attempt to spark human connection. Similar to the role that the city of Heidelberg plays here, \u003cem>Bonner\u003c/em>‘s alien setting (Reno, Nevada, where the prison is located) threatens to swallow its heroes whole.\u003c/p>\n\u003cp>Morris is a far lighter affair, swapping out the serious crime at \u003cem>Bonner\u003c/em>‘s center for the more nebulous alienating factors of race, language, and adolescence. It’s also more traditionally structured and provides ample moments of joy, most notably when Morris visits Heidelberg Castle and imagines the surrounding statues bobbing their heads in time with the music only he can hear. But a muted sadness remains. You can see it on the face of Robinson, who’s mostly known for his deadpan one-liners in the margins of pretty much every American studio comedy of the last ten years. He gets some good ones here — and a hysterical Notorious B.I.G. cover — but also digs into a revealing new melancholy side as a father who’s sacrificed everything for a second-rate version of the career calling he’s always wanted. A still-grieving widower, Curtis is fiercely protective of Morris, to the point where he lashes out at the language tutor (the excellent Carla Juri, who starred in the 2013 German film \u003cem>Wetlands\u003c/em>) for jumping to the wrong conclusions when she stumbles on his explicit writings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those writings play a role in Morris’s stirring, bittersweet victory, when his crush and her musician boyfriend invite him on a road trip to spit some verses in a club for an adoring crowd. Modern European youth culture fetishizes American hip-hop from a distance, much like Morris himself does — though Hartigan is smart about portraying the difference between loving something as a novelty and as a sense of belonging. It is hard not to feel a similar sense of belonging when watching \u003cem>Morris From America\u003c/em>, no matter how far removed we may feel from this kid’s dilemma. After all, we’re only human.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 864,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033200,
"excerpt": "The charismatic Markees Christmas plays Morris, a 13-year-old aspiring rapper from New York who moves to Germany with his widowed father (Craig Robinson).",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The charismatic Markees Christmas plays Morris, a 13-year-old aspiring rapper from New York who moves to Germany with his widowed father (Craig Robinson).",
"title": "In A Sweet Coming-Of-Age Tale, 'Morris From America' Brings Hip-Hop To Heidelberg | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In A Sweet Coming-Of-Age Tale, 'Morris From America' Brings Hip-Hop To Heidelberg",
"datePublished": "2016-08-26T08:00:05-07:00",
"dateModified": "2024-01-11T20:20:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-a-sweet-coming-of-age-tale-morris-from-america-brings-hip-hop-to-heidelberg",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=490258568&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 18 Aug 2016 17:00:13 -0400",
"nprLastModifiedDate": "Thu, 18 Aug 2016 17:00:13 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/08/18/490258568/in-a-sweet-coming-of-age-tale-morris-from-america-brings-hip-hop-to-heidelberg?ft=nprml&f=490258568",
"nprImageAgency": "A24",
"nprStoryId": "490258568",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Aug 2016 17:00:00 -0400",
"path": "/arts/11981343/in-a-sweet-coming-of-age-tale-morris-from-america-brings-hip-hop-to-heidelberg",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have become so used to movie characters who always do and say the expected movie things that it’s a shock to watch a film and encounter genuine humans. The new coming-of-age comedy \u003cem>Morris From America\u003c/em> centers around a 13-year-old aspiring rapper played with astonishing magnetism by first-time actor Markees Christmas. What’s remarkable about the film is that it sets up what could have been a bunch of pat, dumb culture-clash jokes about a black New York kid in Europe, yet never takes the easy way out. Instead, it explores and resolutely preserves its hero’s humanity.\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/AKhFNgFdbDk'\n title='//www.youtube.com/embed/AKhFNgFdbDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Morris lives in Heidelberg, Germany, a picturesque old-Europe town situated midway between Frankfurt, Stuttgart, and the border with France. It’s a place with more standing Middle-Ages structures than black people, and indeed Morris is one of two: the other is his dad, Curtis (Craig Robinson), who works as a soccer coach for the local team. Morris struggles with the language, and, as Americans of any age or creed who’ve lived abroad will tell you, this is only compounded by the fact that everyone around him already speaks excellent English: imagine an older kid resorting to his second language just to bully you.\u003c/p>\n\u003cp>But on a much more elemental level, the short and slightly pudgy young man struggles with his sense of belonging, his complete inability to relate to his tall, thin, lily-white peers in the summer youth program. Racial questions bubble just underneath the surface of every scene, which the camera emphasizes by frequently isolating Morris in the frame, as though he’s constantly trying to will himself away from every uncomfortable situation. (Christmas is so natural in the role that it feels like the filmmakers really found him wandering around Heidelberg by himself.)\u003c/p>\n\u003cp>Though Morris develops a crush on the pretty Katrin (Lina Keller), who sports a “New York” T-shirt, she’s both too old for him and too pitying of him to offer much hope of fulfilling his romantic ambitions. The kid can only do that in his bedroom at night, when he throws on headphones and spits out his own rap lyrics that are hilarious in their complete sexual inexperience. (The fact that the movie is rated R, the same as last week’s absurdly filthy \u003cem>Sausage Party\u003c/em>, is further argument for the Motion Picture Association of America to start a Big Think about the \u003cem>context\u003c/em> of bad words, not just their quantity.) Another bedroom scene, late in the film, finds Morris trying out moves on his pillowcase, a tender duet that’s filmed with the care and subtlety of a traditional love scene.\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>Chad Hartigan, the film’s gifted writer-director, has dealt with themes of loneliness and forced relocation before, in his 2013 micro-budget masterpiece \u003cem>This Is Martin Bonner\u003c/em>. That movie, a drama about the bond between a man just released from prison and his rehabilitation social worker, also expertly captured an incomplete sense of place, and a halfhearted attempt to spark human connection. Similar to the role that the city of Heidelberg plays here, \u003cem>Bonner\u003c/em>‘s alien setting (Reno, Nevada, where the prison is located) threatens to swallow its heroes whole.\u003c/p>\n\u003cp>Morris is a far lighter affair, swapping out the serious crime at \u003cem>Bonner\u003c/em>‘s center for the more nebulous alienating factors of race, language, and adolescence. It’s also more traditionally structured and provides ample moments of joy, most notably when Morris visits Heidelberg Castle and imagines the surrounding statues bobbing their heads in time with the music only he can hear. But a muted sadness remains. You can see it on the face of Robinson, who’s mostly known for his deadpan one-liners in the margins of pretty much every American studio comedy of the last ten years. He gets some good ones here — and a hysterical Notorious B.I.G. cover — but also digs into a revealing new melancholy side as a father who’s sacrificed everything for a second-rate version of the career calling he’s always wanted. A still-grieving widower, Curtis is fiercely protective of Morris, to the point where he lashes out at the language tutor (the excellent Carla Juri, who starred in the 2013 German film \u003cem>Wetlands\u003c/em>) for jumping to the wrong conclusions when she stumbles on his explicit writings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those writings play a role in Morris’s stirring, bittersweet victory, when his crush and her musician boyfriend invite him on a road trip to spit some verses in a club for an adoring crowd. Modern European youth culture fetishizes American hip-hop from a distance, much like Morris himself does — though Hartigan is smart about portraying the difference between loving something as a novelty and as a sense of belonging. It is hard not to feel a similar sense of belonging when watching \u003cem>Morris From America\u003c/em>, no matter how far removed we may feel from this kid’s dilemma. After all, we’re only human.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11981343/in-a-sweet-coming-of-age-tale-morris-from-america-brings-hip-hop-to-heidelberg",
"authors": [
"byline_arts_11981343"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11981346",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=review": {
"isFetching": false,
"latestQuery": {
"from": 1176,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_12081831",
"arts_12070822",
"arts_12068407",
"arts_12035379",
"arts_12040942",
"arts_12042706",
"arts_12029369",
"arts_11998042",
"arts_12011990",
"arts_12004739",
"arts_11979746",
"arts_11981343"
],
"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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_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_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_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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
},
"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"
}
},
"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": {}
}
}
}