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"content": "\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqJRIQO7sqw\u003c/p>\n\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. 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Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On one hand, the release of Ibram X. Kendi’s new book, \u003cem>How To Be An Antiracist\u003c/em>, couldn’t come at a better time.\u003c/p>\n\u003cp>The book hits bookstores this week amid an ongoing national debate about what qualifies as racist—and who gets to decide. Its August arrival also coincides with the 400th anniversary of the first Africans documented to reach the colony of Virginia, entering involuntary bondage in what would become the United States.\u003c/p>\n\u003cp>This brings up the other hand: It’s difficult to imagine any point in (or, truly, before) the history of this country when Kendi’s guide to recognizing and dismantling racism wouldn’t be profoundly useful and necessary.\u003c/p>\n\u003cp>Despite the nature of its title, Kendi has gifted us with a book that is not only an essential instruction manual but also a memoir of the author’s own path from anti-black racism to anti-white racism and, finally, to antiracism. Such critical self-reflection is, in fact, the responsibility of the antiracist. Kendi explains that, “like fighting an addiction, being an antiracist requires persistent self-awareness, constant self-criticism, and regular self-examination.”\u003c/p>\n\u003cp>The National Book Award-winning author’s stories about his own racist behavior models this beautifully. Arranged chronologically, the book opens with the meeting of Kendi’s parents—and moves through his first memory of experiencing racism, to high school, college, grad school and the present day. At no point does Kendi fail to identify the mistakes he made along the way—such as overcompensating for colorism during his undergraduate years. Frustrated with friends who were enraptured by his light-skinned girlfriend but ignored her darker roommate, Kendi “pledged to date only Dark women.” He reflects, “I hardly realized my own racist hypocrisy: I was turning the color hierarchy upside down, but the color hierarchy remained.” This transparency serves as an invitation to all of us to accept and grow from our racist behavior. It is one of many components that makes \u003cem>How to Be an Antiracist\u003c/em> so accessible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book’s structure also exemplifies a commitment to clarity for the reader. Appreciating the impossibility of effectively confronting a problem that isn’t understood, Kendi begins each chapter, save the final two, with definitions. As he notes “definitions anchor us to principles. This is not a light point: If we don’t do the basic work of defining the kind of people we want to be in language that is stable and consistent, we can’t work toward stable, consistent goals.”\u003c/p>\n\u003cp>Clear definitions do not mean universally agreed upon ones, however. I consider myself to be well-versed in the language and concepts of antiracist theory, and I found myself resisting Kendi’s perspective on more than one occasion. Yet in every case, either his unassailable reasoning, helpful historical context, illuminating data, or some combination of the above won me over.\u003c/p>\n\u003cp>One of Kendi’s first aims, and one likely to invite argument, is to “return the word ‘racist’ itself back to its proper usage.” The term:\u003c/p>\n\u003cblockquote>\u003cp>“…is not the equivalent of a slur. It is descriptive, and the only way to undo racism is to consistently identify and describe it—and then dismantle it. The attempt to turn this usefully descriptive term into an almost unusable slur is, of course, designed to do the opposite: to freeze us into inaction.”\u003c/p>\u003c/blockquote>\n\u003cp>Even the central premise of the book—that there are two ways of being in the world: racist or antiracist—may be difficult to conceive for those unwilling to relinquish the “self-definition of ‘not racist.'” That’s because Kendi explains that “not racist” isn’t really a thing. Kendi argues that “not racist” is a term that “signifies neutrality…[b]ut there is no neutrality in the racism struggle. The opposite of ‘racist’ isn’t ‘not racist.’ It is ‘antiracist.’ … One either endorses the idea of a racial hierarchy as a racist or racial equality as an antiracist.”\u003c/p>\n\u003cp>Those who commit to striving to be the latter will find ample resources in this book. Kendi examines how racism and antiracism have played out historically and continues to manifest in the realms of biology, class, culture, space, behavior, color, ethnicity, and more. He also makes clear that antiracism “means standing ready to fight racism’s intersections with other bigotries,” from gender to gender identity to sexuality and beyond. Along the way, he explores everything from the history of racial categories to segregationist- and assimilationist-based racism to the OJ Simpson verdict, Chris Rock, and how race impacted the presidential election in 2000.\u003c/p>\n\u003cp>Throughout, while Kendi makes it plain that no race is superior to any other, he does identify a supremacy among strategies, eviscerating the idea of changing hearts and minds as the primary means of eradicating racism. Paraphrasing Assata Shakur, Kendi questions whether any “group in history has gained their freedom through appealing to the moral conscience of their oppressors.” He pushes us to instead focus on policy, because while other approaches may benefit individuals, “only policy change helps groups.”\u003c/p>\n\u003cp>Kendi’s book may reveal how to join him on his “lifelong mission to be antiracist,” but he doesn’t suggest the path is an easy one. Maintaining a commitment to seeing the intersections of racism and other bigotries, working to build antiracist power, helping develop antiracist strategies, thinking as an antiracist—all of these efforts are continuing struggles for Kendi. After all, he points out, “Racist ideas have defined our society since its beginning and can feel so natural and obvious as to be banal…. To be an antiracist is a radical choice in the face of this history, requiring radical reorientation of our consciousness.”\u003c/p>\n\u003cp>The effort may be daunting, but it’s one we must take on if we are to dismantle the policies that continue to produce racially inequitable results in every measure of health, wealth, and well-being. Thankfully, \u003cem>How to Be an Antiracist \u003c/em>gives us a clear and compelling way to approach, as Kendi puts it in his introduction, “the basic struggle we’re all in, the struggle to be fully human and to see that others are fully human.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the organizing director for DC Working Families and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ibram+X.+Kendi+Says+No+One+Is+%27Not+Racist.%27+So+What+Should+We+Do%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On one hand, the release of Ibram X. Kendi’s new book, \u003cem>How To Be An Antiracist\u003c/em>, couldn’t come at a better time.\u003c/p>\n\u003cp>The book hits bookstores this week amid an ongoing national debate about what qualifies as racist—and who gets to decide. Its August arrival also coincides with the 400th anniversary of the first Africans documented to reach the colony of Virginia, entering involuntary bondage in what would become the United States.\u003c/p>\n\u003cp>This brings up the other hand: It’s difficult to imagine any point in (or, truly, before) the history of this country when Kendi’s guide to recognizing and dismantling racism wouldn’t be profoundly useful and necessary.\u003c/p>\n\u003cp>Despite the nature of its title, Kendi has gifted us with a book that is not only an essential instruction manual but also a memoir of the author’s own path from anti-black racism to anti-white racism and, finally, to antiracism. Such critical self-reflection is, in fact, the responsibility of the antiracist. Kendi explains that, “like fighting an addiction, being an antiracist requires persistent self-awareness, constant self-criticism, and regular self-examination.”\u003c/p>\n\u003cp>The National Book Award-winning author’s stories about his own racist behavior models this beautifully. Arranged chronologically, the book opens with the meeting of Kendi’s parents—and moves through his first memory of experiencing racism, to high school, college, grad school and the present day. At no point does Kendi fail to identify the mistakes he made along the way—such as overcompensating for colorism during his undergraduate years. Frustrated with friends who were enraptured by his light-skinned girlfriend but ignored her darker roommate, Kendi “pledged to date only Dark women.” He reflects, “I hardly realized my own racist hypocrisy: I was turning the color hierarchy upside down, but the color hierarchy remained.” This transparency serves as an invitation to all of us to accept and grow from our racist behavior. It is one of many components that makes \u003cem>How to Be an Antiracist\u003c/em> so accessible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book’s structure also exemplifies a commitment to clarity for the reader. Appreciating the impossibility of effectively confronting a problem that isn’t understood, Kendi begins each chapter, save the final two, with definitions. As he notes “definitions anchor us to principles. This is not a light point: If we don’t do the basic work of defining the kind of people we want to be in language that is stable and consistent, we can’t work toward stable, consistent goals.”\u003c/p>\n\u003cp>Clear definitions do not mean universally agreed upon ones, however. I consider myself to be well-versed in the language and concepts of antiracist theory, and I found myself resisting Kendi’s perspective on more than one occasion. Yet in every case, either his unassailable reasoning, helpful historical context, illuminating data, or some combination of the above won me over.\u003c/p>\n\u003cp>One of Kendi’s first aims, and one likely to invite argument, is to “return the word ‘racist’ itself back to its proper usage.” The term:\u003c/p>\n\u003cblockquote>\u003cp>“…is not the equivalent of a slur. It is descriptive, and the only way to undo racism is to consistently identify and describe it—and then dismantle it. The attempt to turn this usefully descriptive term into an almost unusable slur is, of course, designed to do the opposite: to freeze us into inaction.”\u003c/p>\u003c/blockquote>\n\u003cp>Even the central premise of the book—that there are two ways of being in the world: racist or antiracist—may be difficult to conceive for those unwilling to relinquish the “self-definition of ‘not racist.'” That’s because Kendi explains that “not racist” isn’t really a thing. Kendi argues that “not racist” is a term that “signifies neutrality…[b]ut there is no neutrality in the racism struggle. The opposite of ‘racist’ isn’t ‘not racist.’ It is ‘antiracist.’ … One either endorses the idea of a racial hierarchy as a racist or racial equality as an antiracist.”\u003c/p>\n\u003cp>Those who commit to striving to be the latter will find ample resources in this book. Kendi examines how racism and antiracism have played out historically and continues to manifest in the realms of biology, class, culture, space, behavior, color, ethnicity, and more. He also makes clear that antiracism “means standing ready to fight racism’s intersections with other bigotries,” from gender to gender identity to sexuality and beyond. Along the way, he explores everything from the history of racial categories to segregationist- and assimilationist-based racism to the OJ Simpson verdict, Chris Rock, and how race impacted the presidential election in 2000.\u003c/p>\n\u003cp>Throughout, while Kendi makes it plain that no race is superior to any other, he does identify a supremacy among strategies, eviscerating the idea of changing hearts and minds as the primary means of eradicating racism. Paraphrasing Assata Shakur, Kendi questions whether any “group in history has gained their freedom through appealing to the moral conscience of their oppressors.” He pushes us to instead focus on policy, because while other approaches may benefit individuals, “only policy change helps groups.”\u003c/p>\n\u003cp>Kendi’s book may reveal how to join him on his “lifelong mission to be antiracist,” but he doesn’t suggest the path is an easy one. Maintaining a commitment to seeing the intersections of racism and other bigotries, working to build antiracist power, helping develop antiracist strategies, thinking as an antiracist—all of these efforts are continuing struggles for Kendi. After all, he points out, “Racist ideas have defined our society since its beginning and can feel so natural and obvious as to be banal…. To be an antiracist is a radical choice in the face of this history, requiring radical reorientation of our consciousness.”\u003c/p>\n\u003cp>The effort may be daunting, but it’s one we must take on if we are to dismantle the policies that continue to produce racially inequitable results in every measure of health, wealth, and well-being. Thankfully, \u003cem>How to Be an Antiracist \u003c/em>gives us a clear and compelling way to approach, as Kendi puts it in his introduction, “the basic struggle we’re all in, the struggle to be fully human and to see that others are fully human.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the organizing director for DC Working Families and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ibram+X.+Kendi+Says+No+One+Is+%27Not+Racist.%27+So+What+Should+We+Do%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss)",
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"content": "\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_37YRkp4hIQ\u003c/p>\n\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E5uAH0vNn2s\u003c/p>\n\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xfPoLEJpgY\u003c/p>\n\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cj2k3QsHmyM\u003c/p>\n\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\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/_37YRkp4hIQ'\n title='//www.youtube.com/embed/_37YRkp4hIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\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/E5uAH0vNn2s'\n title='//www.youtube.com/embed/E5uAH0vNn2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\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/_xfPoLEJpgY'\n title='//www.youtube.com/embed/_xfPoLEJpgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\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/Cj2k3QsHmyM'\n title='//www.youtube.com/embed/Cj2k3QsHmyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "janet-mock-on-pose-decriminalizing-sex-work-and-her-life-as-a-trans-teen",
"title": "Janet Mock on 'Pose,' Decriminalizing Sex Work, and Her Life as a Trans Teen",
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"headTitle": "Janet Mock on ‘Pose,’ Decriminalizing Sex Work, and Her Life as a Trans Teen | KQED",
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"content": "\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o47CwiJLpes\u003c/p>\n\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hhcoUnzMZw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\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/o47CwiJLpes'\n title='//www.youtube.com/embed/o47CwiJLpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\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/2hhcoUnzMZw'\n title='//www.youtube.com/embed/2hhcoUnzMZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits",
"headTitle": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits | KQED",
"content": "\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcBNxuKZyN4\u003c/p>\n\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For the past nine years, bronies—fans of the show 'My Little Pony: Friendship is Magic'—have gathered in Baltimore for BronyCon. This year's convention was the biggest ever, but also the last.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\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/ZcBNxuKZyN4'\n title='//www.youtube.com/embed/ZcBNxuKZyN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Season 3 of 'Legion' Ends With Less Telepathy, More Empathy",
"headTitle": "Season 3 of ‘Legion’ Ends With Less Telepathy, More Empathy | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zblbNYyv0A\u003c/p>\n\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "FX's surreal, gorgeous, not-quite-a-superhero-show concluded with neither a bang nor a whimper, but instead with time travel, Pink Floyd, forgiveness and an outpouring of empathy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\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/6zblbNYyv0A'\n title='//www.youtube.com/embed/6zblbNYyv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Across Europe, Museums Rethink What to Do With Their African Art Collections",
"headTitle": "Across Europe, Museums Rethink What to Do With Their African Art Collections | KQED",
"content": "\u003cp>Early in the movie \u003cem>Black Panther\u003c/em>, a black visitor played by Michael B. Jordan confronts a white curator over African artifacts in a fictional British museum.\u003c/p>\n\u003cp>“How do you think your ancestors got these?” the visitor asks. “You think they paid a fair price? Or did they take it—like they took everything else?”\u003c/p>\n\u003cp>The visitor turns out to be the villain of the movie. But a similar (if less ultimately violent) discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and \u003ca href=\"https://www.theartnewspaper.com/news/dutch-museums-take-initiative-to-repatriate-colonial-era-artefacts\">The Netherlands\u003c/a> have \u003ca href=\"https://www.cnn.com/2019/05/17/africa/germany-to-return-namibia-art-scli-intl/index.html\">announced plans to return\u003c/a> art and artifacts taken from Africa during the colonial period. And more museum staff are meeting on the topic across Europe.\u003c/p>\n\u003cp>In 2006, France’s Quai Branly museum lent a set of wooden statues and carved furniture to the country of Benin. Originally seized from the region by a French military expedition in 1892, they were housed in a Beninese museum called the Fondation Zinsou.\u003c/p>\n\u003cp>Marie-Cécile Zinsou, founder of the museum, says people lined up for 3 to 4 hours, and that visitors to the exhibition left lots of messages of gratitude in the visitors’ book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But they also wondered: “Why do these objects have to go back in France, exactly?” Zinsou says. “People were really saying, ‘Do you think we could have them back for real, soon?'”\u003c/p>\n\u003cp>According to the most commonly cited figures from a 2007 UNESCO forum, 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa. Many, like the works from Benin, were taken during the colonial period and ended up in museums across Europe and North America.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/09/26/649600217/where-human-zoos-once-stood-a-belgian-museum-now-faces-its-colonial-past\">At the Africa Museum in Belgium\u003c/a>, director Guido Gryseels says 85 percent of the museum’s collection comes from the Congo—the site of Belgium’s former colony in Central Africa.\u003c/p>\n\u003cp>“Some were brought by missionaries,” Gryseels says. “Others were brought by civil servants … also, some were resulting from military expeditions and sometimes even from plundering.”\u003c/p>\n\u003cp>For decades, Congolese leaders have asked for these objects to be returned. Most of their requests, and those by African countries to other museums, have been refused—with some exceptions, particularly for human remains.\u003c/p>\n\u003cp>But recent events in Europe have raised the possibility of repatriations at a much larger scale. In addition to the plans announced in Germany, last year French President Emmanuel Macron commissioned \u003ca href=\"http://restitutionreport2018.com/sarr_savoy_en.pdf\">a study of how much African art French museums are holding\u003c/a> and to make recommendations about what to do with it.\u003c/p>\n\u003cp>Senegalese economist Felwine Sarr is one of the study’s authors. “The problem is you can’t lend people an object that fundamentally belongs to them,” he says.\u003c/p>\n\u003cp>The study recommended the return of a wide range of objects taken during the colonial period by force—or where there’s simply no documentation of consent. The report got mixed reviews in France, where Sarr estimates there are at least 90,000 African items in museums.\u003c/p>\n\u003cp>The vast majority are in just one, the state-owned Quai Branly in Paris. Its director, Stéphane Martin, said in an \u003ca href=\"https://www.europe1.fr/emissions/C-est-arrive-demain/patrick-cohen-avec-michel-wieviorka-stephane-martin-jean-louis-fournier-et-jose-garcia-3807632\">interview with radio station Europe 1\u003c/a> that restitution shouldn’t be a dirty word,but that the report was too drastic: “Museums should not be the hostages of the unhappy history of colonialism,” he said.\u003c/p>\n\u003cp>The wrangling over where art comes from and where it belongs isn’t new. The most famous example is \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113889188\">Greece’s longstanding dispute\u003c/a> with the British Museum over what the British call the Elgin marbles: sculptures from the Parthenon that have been at the London museum for almost 200 years.\u003c/p>\n\u003cfigure id=\"attachment_13863918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg\" alt=\"A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018. \u003ccite>(Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alexander Herman of the Institute of Art and Law in the U.K. says that in 2002, a group of directors from major international museums issued a general declaration on the topic of restitution. He characterized it as “claiming we shouldn’t just be kowtowing to these claimant countries and giving everything back, and things need to be shared with a world audience, and we’re the best places where this can happen.”\u003c/p>\n\u003cp>That sentiment still lingers, he says—the Elgin marbles are still in the British Museum—but he does think that other fronts may be more open. For his part, Guido Gryseels of the Africa Museum in Belgium acknowledges that attitudes are changing.\u003c/p>\n\u003cp>“We are fully aware that it’s not normal that such a large part of the African cultural heritage is in Europe or in Western museums,” he says.\u003c/p>\n\u003cp>Gryssels says he’s in discussion with his counterpart in the Congo to return works.\u003c/p>\n\u003cp>In France, some press coverage has suggested returns could leave vacant shelves in French museums. Cécile Fromont, a French historian of Central African art, says that’s not going to happen. One way of thinking about it, she says, is that more African art can go on display.\u003c/p>\n\u003cp>“We are talking about hundreds of thousands of objects,” Fromont says. “As somebody who wants to champion the display and study of the expressive art of the African continent, if we can get more objects on view—in more settings, in more museums, in more places around the world—that sounds like a great solution.”\u003c/p>\n\u003cp>For now, those wooden objects from Benin are back at the Quai Branly. With a loan from the French Development Agency, \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__www.france24.com_en_20190716-2Dbenin-2Dreadies-2Dreturn-2Dtreasures-2Dtaken-2Dfrance&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=xbeNc8dbx9Jc1UjCGoBhfLkLI91Xa3ESLCRxFVZJ_LQ&m=X3H645VzoGkTIW4nXMbaJBnjwOC2_iDxXCMTB-kSbUs&s=uLE4rJkQZs67i84TnpsYTN1mQQ8RSiBrcwB7jW4hO1Y&e=\">Benin is constructing a new museum\u003c/a> to receive them, set to open in 2021.\u003c/p>\n\u003cp>In July, the French Minister of Culture Franck Riester said the government was prepared to send them on loan to Benin even sooner. But it will take an act of the French Parliament to release them from the Quai Branly’s collection definitively—and another law to allow for wider, permanent returns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Across+Europe%2C+Museums+Rethink+What+To+Do+With+Their+African+Art+Collections&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Attitudes toward returning cultural artifacts, often looted during colonization, are changing. In countries like France, Germany and Belgium, the talk has turned to restitution and repatriation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the movie \u003cem>Black Panther\u003c/em>, a black visitor played by Michael B. Jordan confronts a white curator over African artifacts in a fictional British museum.\u003c/p>\n\u003cp>“How do you think your ancestors got these?” the visitor asks. “You think they paid a fair price? Or did they take it—like they took everything else?”\u003c/p>\n\u003cp>The visitor turns out to be the villain of the movie. But a similar (if less ultimately violent) discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and \u003ca href=\"https://www.theartnewspaper.com/news/dutch-museums-take-initiative-to-repatriate-colonial-era-artefacts\">The Netherlands\u003c/a> have \u003ca href=\"https://www.cnn.com/2019/05/17/africa/germany-to-return-namibia-art-scli-intl/index.html\">announced plans to return\u003c/a> art and artifacts taken from Africa during the colonial period. And more museum staff are meeting on the topic across Europe.\u003c/p>\n\u003cp>In 2006, France’s Quai Branly museum lent a set of wooden statues and carved furniture to the country of Benin. Originally seized from the region by a French military expedition in 1892, they were housed in a Beninese museum called the Fondation Zinsou.\u003c/p>\n\u003cp>Marie-Cécile Zinsou, founder of the museum, says people lined up for 3 to 4 hours, and that visitors to the exhibition left lots of messages of gratitude in the visitors’ book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But they also wondered: “Why do these objects have to go back in France, exactly?” Zinsou says. “People were really saying, ‘Do you think we could have them back for real, soon?'”\u003c/p>\n\u003cp>According to the most commonly cited figures from a 2007 UNESCO forum, 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa. Many, like the works from Benin, were taken during the colonial period and ended up in museums across Europe and North America.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/09/26/649600217/where-human-zoos-once-stood-a-belgian-museum-now-faces-its-colonial-past\">At the Africa Museum in Belgium\u003c/a>, director Guido Gryseels says 85 percent of the museum’s collection comes from the Congo—the site of Belgium’s former colony in Central Africa.\u003c/p>\n\u003cp>“Some were brought by missionaries,” Gryseels says. “Others were brought by civil servants … also, some were resulting from military expeditions and sometimes even from plundering.”\u003c/p>\n\u003cp>For decades, Congolese leaders have asked for these objects to be returned. Most of their requests, and those by African countries to other museums, have been refused—with some exceptions, particularly for human remains.\u003c/p>\n\u003cp>But recent events in Europe have raised the possibility of repatriations at a much larger scale. In addition to the plans announced in Germany, last year French President Emmanuel Macron commissioned \u003ca href=\"http://restitutionreport2018.com/sarr_savoy_en.pdf\">a study of how much African art French museums are holding\u003c/a> and to make recommendations about what to do with it.\u003c/p>\n\u003cp>Senegalese economist Felwine Sarr is one of the study’s authors. “The problem is you can’t lend people an object that fundamentally belongs to them,” he says.\u003c/p>\n\u003cp>The study recommended the return of a wide range of objects taken during the colonial period by force—or where there’s simply no documentation of consent. The report got mixed reviews in France, where Sarr estimates there are at least 90,000 African items in museums.\u003c/p>\n\u003cp>The vast majority are in just one, the state-owned Quai Branly in Paris. Its director, Stéphane Martin, said in an \u003ca href=\"https://www.europe1.fr/emissions/C-est-arrive-demain/patrick-cohen-avec-michel-wieviorka-stephane-martin-jean-louis-fournier-et-jose-garcia-3807632\">interview with radio station Europe 1\u003c/a> that restitution shouldn’t be a dirty word,but that the report was too drastic: “Museums should not be the hostages of the unhappy history of colonialism,” he said.\u003c/p>\n\u003cp>The wrangling over where art comes from and where it belongs isn’t new. The most famous example is \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113889188\">Greece’s longstanding dispute\u003c/a> with the British Museum over what the British call the Elgin marbles: sculptures from the Parthenon that have been at the London museum for almost 200 years.\u003c/p>\n\u003cfigure id=\"attachment_13863918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg\" alt=\"A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018. \u003ccite>(Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alexander Herman of the Institute of Art and Law in the U.K. says that in 2002, a group of directors from major international museums issued a general declaration on the topic of restitution. He characterized it as “claiming we shouldn’t just be kowtowing to these claimant countries and giving everything back, and things need to be shared with a world audience, and we’re the best places where this can happen.”\u003c/p>\n\u003cp>That sentiment still lingers, he says—the Elgin marbles are still in the British Museum—but he does think that other fronts may be more open. For his part, Guido Gryseels of the Africa Museum in Belgium acknowledges that attitudes are changing.\u003c/p>\n\u003cp>“We are fully aware that it’s not normal that such a large part of the African cultural heritage is in Europe or in Western museums,” he says.\u003c/p>\n\u003cp>Gryssels says he’s in discussion with his counterpart in the Congo to return works.\u003c/p>\n\u003cp>In France, some press coverage has suggested returns could leave vacant shelves in French museums. Cécile Fromont, a French historian of Central African art, says that’s not going to happen. One way of thinking about it, she says, is that more African art can go on display.\u003c/p>\n\u003cp>“We are talking about hundreds of thousands of objects,” Fromont says. “As somebody who wants to champion the display and study of the expressive art of the African continent, if we can get more objects on view—in more settings, in more museums, in more places around the world—that sounds like a great solution.”\u003c/p>\n\u003cp>For now, those wooden objects from Benin are back at the Quai Branly. With a loan from the French Development Agency, \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__www.france24.com_en_20190716-2Dbenin-2Dreadies-2Dreturn-2Dtreasures-2Dtaken-2Dfrance&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=xbeNc8dbx9Jc1UjCGoBhfLkLI91Xa3ESLCRxFVZJ_LQ&m=X3H645VzoGkTIW4nXMbaJBnjwOC2_iDxXCMTB-kSbUs&s=uLE4rJkQZs67i84TnpsYTN1mQQ8RSiBrcwB7jW4hO1Y&e=\">Benin is constructing a new museum\u003c/a> to receive them, set to open in 2021.\u003c/p>\n\u003cp>In July, the French Minister of Culture Franck Riester said the government was prepared to send them on loan to Benin even sooner. But it will take an act of the French Parliament to release them from the Quai Branly’s collection definitively—and another law to allow for wider, permanent returns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Across+Europe%2C+Museums+Rethink+What+To+Do+With+Their+African+Art+Collections&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time that Simone Biles performed a triple-double at the U.S. Gymnastics Championships in Kansas City, she wasn’t pleased. After soaring through the air to complete two flips and three full twists on Friday, she stumbled.\u003c/p>\n\u003cp>On Sunday, the 22-year-old did it again—and stuck the landing. It’s the first time a woman has done so in competition.\u003c/p>\n\u003cp>https://twitter.com/NBCSports/status/1160719410576986112?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1160719410576986112&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F08%2F12%2F750434716%2Fsimone-biles-lands-historic-triple-double-earns-6th-u-s-all-around-gymnastics-ti\u003c/p>\n\u003cp>The reigning world champion finished the competition on Sunday with the U.S. all-around title. It’s her sixth.\u003c/p>\n\u003cp>Previously the only woman to win six U.S. all-around gold medals was Clara Schroth-Lomady, who won her titles between 1945 and 1952.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2fdp8SVOSF4\u003c/p>\n\u003cp>Biles also made history by performing a double-double dismount—two twists and two somersaults—off the balance beam on Friday.\u003c/p>\n\u003cp>Before competing last week, Biles criticized USA Gymnastics, the national governing body of the sport, for failing to protect its athletes against abuse. \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/16/578300699/gymnastics-doctors-victims-speak-as-simone-biles-says-she-was-also-abused\">Biles revealed in 2018\u003c/a> that she was one of the many gymnasts abused by former national team doctor Larry Nassar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You had one job. You literally had one job and you couldn’t protect us,” Biles \u003ca href=\"https://www.cnn.com/2019/08/08/us/simone-biles-usa-gymnastics-one-job/index.html\">told reporters\u003c/a> on Wednesday.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Simone+Biles+Earns+6th+U.S.+All-Around+Gymnastics+Title+With+Historic+Triple-Double&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2fdp8SVOSF4'\n title='//www.youtube.com/embed/2fdp8SVOSF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Biles also made history by performing a double-double dismount—two twists and two somersaults—off the balance beam on Friday.\u003c/p>\n\u003cp>Before competing last week, Biles criticized USA Gymnastics, the national governing body of the sport, for failing to protect its athletes against abuse. \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/16/578300699/gymnastics-doctors-victims-speak-as-simone-biles-says-she-was-also-abused\">Biles revealed in 2018\u003c/a> that she was one of the many gymnasts abused by former national team doctor Larry Nassar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You had one job. You literally had one job and you couldn’t protect us,” Biles \u003ca href=\"https://www.cnn.com/2019/08/08/us/simone-biles-usa-gymnastics-one-job/index.html\">told reporters\u003c/a> on Wednesday.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Simone+Biles+Earns+6th+U.S.+All-Around+Gymnastics+Title+With+Historic+Triple-Double&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The air tingles with prose. Patrons perch atop bar stools, but they aren’t drinking. Individuals congregate together as a group, but they aren’t talking.\u003c/p>\n\u003cp>Paperbacks adorn a table stained by water rings, and tote bags dangle over the backs of chairs. Classic rock is blaring from the speakers, but at this table, silence rings out.\u003c/p>\n\u003cp>A Silent Book Club is meeting.\u003c/p>\n\u003cp>The concept is simple yet revolutionary: Members meet up at a bar, a library, a bookstore or any venue that will host them. Once the bell rings, silent reading time commences. After an hour, the bell rings again.\u003c/p>\n\u003cp>Other than that, there are no rules.\u003c/p>\n\u003cp>Liberated from the orthodoxy of traditional book clubs, participants can bring whatever they’d like to read and chat about anything, before and after the designated reading time.\u003c/p>\n\u003cp>The idea began with two friends reading together at a bar in San Francisco, annoyed by the assigned reading of a demanding book club.\u003c/p>\n\u003cp>“I wished that I had a book club where basically there was no assigned reading but you could just show up, hang out with your friends, talk about what you were reading and then just sort of read your book with no pressure to prepare snacks or vacuum your house or do any of the things that normal, traditional book club hosting entails,” says Guinevere de la Mare, who co-founded the organization with Laura Gluhanich in 2012.\u003c/p>\n\u003cp>“And Laura was like, ‘That sounds amazing. Let’s do it.’ And so we did.”\u003c/p>\n\u003cp>Today, \u003ca href=\"https://silentbook.club/blogs/events\">Silent Book Club has over 70 chapters\u003c/a> for what de la Mare calls Introvert Happy Hour. Locations dot the globe, with congregants meeting monthly in Pakistan, Hong Kong, the Netherlands and many other cities and countries.\u003c/p>\n\u003cp>https://www.instagram.com/p/BL-XTfgj_To/?utm_source=ig_web_button_share_sheet\u003c/p>\n\u003cp>The founders help interested individuals create new chapters by offering logistical assistance and social media suggestions. From there, de la Mare says, she lets each group do as it pleases, with the goal of creating spaces “where people can connect with like-minded individuals, even if all that they have in common is a love of reading.”\u003c/p>\n\u003cp>Many clubs share book recommendations, or members go around in a circle to talk about what they’re reading. Others exchange scholasticism for schmoozing, order drinks and become part of the barroom din that once pierced their silent reading time.\u003c/p>\n\u003cp>“Some people choose to talk about their book. Some people choose to talk about how they felt about the experience. Some people don’t talk at all,” says Ana Maria Panait, who started a chapter in Johannesburg, South Africa.\u003c/p>\n\u003cp>The space is especially attractive to introverts who might have trouble energizing themselves to socialize and meet up with new people.\u003c/p>\n\u003cp>The designated silent time and built-in conversation topic make for a safe space in which introverted individuals can feel comfortable.\u003c/p>\n\u003cp>“It just relieves this ton of pressure around that horrible awkward small talk which I think is a big hurdle to a lot of people who don’t want to go to parties,” de la Mare says.\u003c/p>\n\u003cp>Mandy Shunnarah began her own chapter in Columbus, Ohio, which averages between 25 and 50 attendees each month.\u003c/p>\n\u003cp>“I would say that I’m an introvert who’s really good at pretending to be an extrovert for small amounts of time,” she says. “What I like about Silent Book Club is you get the community of a book club but without the homework. So there’s less pressure to contribute to one single conversation or to make insightful comments about one particular book. I think it’s more of a low-pressure social situation.”\u003c/p>\n\u003cp>As chapters continue to pop up, silent bibliophiles are carving out spaces for introverts to find joy, comfort and camaraderie.\u003c/p>\n\u003cp>Socializing might not come naturally to all participants, but with books in tow, what follows is often organic.\u003c/p>\n\u003cp>Says Shunnarah: “We stay until the library kicks us out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Josh Axelrod is a New Orleans-based journalist. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The air tingles with prose. Patrons perch atop bar stools, but they aren’t drinking. Individuals congregate together as a group, but they aren’t talking.\u003c/p>\n\u003cp>Paperbacks adorn a table stained by water rings, and tote bags dangle over the backs of chairs. Classic rock is blaring from the speakers, but at this table, silence rings out.\u003c/p>\n\u003cp>A Silent Book Club is meeting.\u003c/p>\n\u003cp>The concept is simple yet revolutionary: Members meet up at a bar, a library, a bookstore or any venue that will host them. Once the bell rings, silent reading time commences. After an hour, the bell rings again.\u003c/p>\n\u003cp>Other than that, there are no rules.\u003c/p>\n\u003cp>Liberated from the orthodoxy of traditional book clubs, participants can bring whatever they’d like to read and chat about anything, before and after the designated reading time.\u003c/p>\n\u003cp>The idea began with two friends reading together at a bar in San Francisco, annoyed by the assigned reading of a demanding book club.\u003c/p>\n\u003cp>“I wished that I had a book club where basically there was no assigned reading but you could just show up, hang out with your friends, talk about what you were reading and then just sort of read your book with no pressure to prepare snacks or vacuum your house or do any of the things that normal, traditional book club hosting entails,” says Guinevere de la Mare, who co-founded the organization with Laura Gluhanich in 2012.\u003c/p>\n\u003cp>“And Laura was like, ‘That sounds amazing. Let’s do it.’ And so we did.”\u003c/p>\n\u003cp>Today, \u003ca href=\"https://silentbook.club/blogs/events\">Silent Book Club has over 70 chapters\u003c/a> for what de la Mare calls Introvert Happy Hour. Locations dot the globe, with congregants meeting monthly in Pakistan, Hong Kong, the Netherlands and many other cities and countries.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founders help interested individuals create new chapters by offering logistical assistance and social media suggestions. From there, de la Mare says, she lets each group do as it pleases, with the goal of creating spaces “where people can connect with like-minded individuals, even if all that they have in common is a love of reading.”\u003c/p>\n\u003cp>Many clubs share book recommendations, or members go around in a circle to talk about what they’re reading. Others exchange scholasticism for schmoozing, order drinks and become part of the barroom din that once pierced their silent reading time.\u003c/p>\n\u003cp>“Some people choose to talk about their book. Some people choose to talk about how they felt about the experience. Some people don’t talk at all,” says Ana Maria Panait, who started a chapter in Johannesburg, South Africa.\u003c/p>\n\u003cp>The space is especially attractive to introverts who might have trouble energizing themselves to socialize and meet up with new people.\u003c/p>\n\u003cp>The designated silent time and built-in conversation topic make for a safe space in which introverted individuals can feel comfortable.\u003c/p>\n\u003cp>“It just relieves this ton of pressure around that horrible awkward small talk which I think is a big hurdle to a lot of people who don’t want to go to parties,” de la Mare says.\u003c/p>\n\u003cp>Mandy Shunnarah began her own chapter in Columbus, Ohio, which averages between 25 and 50 attendees each month.\u003c/p>\n\u003cp>“I would say that I’m an introvert who’s really good at pretending to be an extrovert for small amounts of time,” she says. “What I like about Silent Book Club is you get the community of a book club but without the homework. So there’s less pressure to contribute to one single conversation or to make insightful comments about one particular book. I think it’s more of a low-pressure social situation.”\u003c/p>\n\u003cp>As chapters continue to pop up, silent bibliophiles are carving out spaces for introverts to find joy, comfort and camaraderie.\u003c/p>\n\u003cp>Socializing might not come naturally to all participants, but with books in tow, what follows is often organic.\u003c/p>\n\u003cp>Says Shunnarah: “We stay until the library kicks us out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Josh Axelrod is a New Orleans-based journalist. His work has appeared on CNN and in \u003c/em>The Jerusalem Post\u003cem> and \u003c/em>The New Orleans Advocate\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RJ4QxPjU2Lk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. I’m more and more excited about the kind of work that I’m allowed to do—and that periods where I’m not working or not getting the kind of parts that I want to play, I can work on myself in those times. I can fill myself up in other ways so I’m ready and prepared when the role that I’ve been dreaming of does come my way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\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/RJ4QxPjU2Lk'\n title='//www.youtube.com/embed/RJ4QxPjU2Lk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. I’m more and more excited about the kind of work that I’m allowed to do—and that periods where I’m not working or not getting the kind of parts that I want to play, I can work on myself in those times. I can fill myself up in other ways so I’m ready and prepared when the role that I’ve been dreaming of does come my way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
"headTitle": "‘Jaws’ Shark Gets His Bite Back: A Love Story | KQED",
"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
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"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 />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"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",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"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",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"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": {
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"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.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"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.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"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.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"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": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"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",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"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": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"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": {
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"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"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",
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}
},
"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/",
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"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",
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"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": {
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"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": {
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"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"
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},
"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": {
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"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",
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