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"content": "\u003cp>Jeanne Manford made headlines 50 years ago when she marched with her openly gay son at the Christopher Street Liberation Day Parade—\u003ca href=\"http://web-static.nypl.org/exhibitions/1969/christopher.html\" target=\"_blank\" rel=\"noopener noreferrer\">an early Pride event in New York City\u003c/a>. Such behavior from a straight mom was unheard of at the time.\u003c/p>\n\u003cp>The following year, Manford founded an organization for people like herself—\u003ca href=\"https://pflagsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PFLAG,\u003c/a> which originally stood for Parents and Friends of Lesbians And Gays.\u003c/p>\n\u003cp>Over time, PFLAG became a leader in the fight for gay rights. It was a cherished source of support for thousands of families, especially throughout the AIDS epidemic in the 1980s. These days, Pride is a family event and PFLAG serves every member of the LGBTQIA community.\u003c/p>\n\u003cfigure id=\"attachment_13915154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-800x600.jpg\" alt=' A bespectacled woman dressed in conservative 1970s clothes smiles, as she walks through the street carrying a sign that says \"Parents of gays unite in support for our children.\" Behind her is a group of other men and women walking in formation.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7.jpg 1704w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeanne Manford marching in support of her son 50 years ago, at the Christopher Street Liberation Day Parade in 1972. \u003ccite>(PFLAG National)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The culture has changed in immeasurable ways, says PFLAG board member Kay Holladay. She remembers how in the early 1980s when her son came out to her, she did not know any gay people.\u003c/p>\n\u003cp>“I think my choir director at church probably was,” she says dryly. Her Southern Baptist church in Norman, Okla. did not accept LGBTQ members. “We had nobody to talk to. We had no other families. We had no resources.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holladay and her husband felt lost and isolated. They went to the public library to educate themselves but found nothing of use. However, they read about PFLAG in the syndicated advice column \u003ca href=\"https://www.npr.org/2013/01/17/169627080/dear-reader-yes-theres-a-reason-people-asked-dear-abby-for-advice\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Abby\u003c/a> and that inspired them to co-found a local chapter. This year, they were grand marshals of \u003ca href=\"https://www.normanokpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Norman’s Pride parade.\u003c/a>\u003c/p>\n\u003cp>PFLAG was shaped by people like the Holladays for others like themselves—a largely white demographic who desperately needed support in the days before Ellen DeGeneres and Anderson Cooper helped make the very idea of LGBTQ families mainstream. These days, coming out has become relatively painless for many kids from families like theirs. But it was not easy for Devin Green, a child of immigrants who grew up in Charlotte, N.C.\u003c/p>\n\u003cp>[aside postID='arts_13859570,arts_13859216,arts_13859162']“It was very nerve-racking,” the 19-year-old says of telling his parents he was trans. “Being Jamaican and having a relatively conservative upbringing, I just didn’t know what to expect.”\u003c/p>\n\u003cp>Green’s family attended a Southern Baptist church that taught a literal interpretation of the Bible. When he came out in ninth grade, Green’s mom was less than thrilled. Now, she is open and candid about her family’s journey. After all, says Claudette Green, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=204550149\" target=\"_blank\" rel=\"noopener noreferrer\">it started for her at home in Jamaica\u003c/a>, where she grew up hearing homophobic messages in church, on the news and in popular music.\u003c/p>\n\u003cp>“There were songs that glorified killing LGBTQ members,” she recalls. “There were actually laws on the books in Jamaica that you could go to jail if you were a member of the LGBTQ community.”\u003c/p>\n\u003cp>After Devin Green persuaded his mom to go to therapy, she was talked into attending a PFLAG meeting. “It was difficult for me because when I got there, I met families who were more accepting of their children and so I felt like a terrible parent,” she says. But Green was the opposite of a terrible parent. She and her kid talked. And most importantly, she listened. “Devin was an excellent teacher and I was a very good student,” she says.\u003c/p>\n\u003cp>And when the head of the local PFLAG chapter invited her out for coffee, she went. “She met me where I was,” Green says. “Going to PFLAG and seeing the love, it helped me dismantle some of the things I believed.”\u003c/p>\n\u003cp>Five years later, Green proudly marches in Pride parades. She’s changed her nursing career to focus on helping LGBTQ youth and she and her husband have supported other Caribbean families adjusting to LGBTQ kids. They’ve moved to a more affirming church and Green has just accepted a position on PFLAG’s Charlotte board.\u003c/p>\n\u003cfigure id=\"attachment_13915155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg\" alt=\"A group of smiling and waving people in matching blue t-shirts lead a celebratory march through sunny streets. Rainbow flags are held aloft in the background.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0.jpg 994w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Gabriel Valley’s Asian Pacific Islander chapter of PFLAG marches in support of LGBTQ friends and family at a recent Pride parade. \u003ccite>(PFLAG San Gabriel Valley API Chapter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, PFLAG’s executive director, \u003ca href=\"https://pflag.org/bio/brian-k-bond\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Bond\u003c/a>, says his organization has a long way to go.\u003c/p>\n\u003cp>“It’s predominantly white,” he says. But PFLAG is trying he says, with bilingual literature and developing spaces where people with similar backgrounds and cultural competencies can support each other online. He is haunted, however, by the people PFLAG does not reach.\u003c/p>\n\u003cp>[aside postid='arts_13859408']Bond keeps a receipt in his wallet, he told NPR. It’s for the funeral of a 13-year-old trans kid who died by suicide a year and a half ago. His family had never heard of PFLAG. The organization paid for the child’s funeral anonymously.\u003c/p>\n\u003cp>“Interestingly enough, it was a state trooper that reached out to us,” Bond says. “And it’s not our job, but it’s what we needed to do in the moment. And making sure no family has to do that should be our ultimate goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times have changed but in some ways, they haven’t. PFLAG has new battles to fight. For the first time, \u003ca href=\"https://pflag.org/press-releases/PFLAGvAbbott\" target=\"_blank\" rel=\"noopener noreferrer\">it’s become the plaintiff in a lawsuit\u003c/a>, against the state of Texas to protect trans kids and their parents fighting for affirmative health care.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+PFLAG%27s+founder+marched+with+her+gay+son.+How%27s+it+keeping+up+in+2022%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was very nerve-racking,” the 19-year-old says of telling his parents he was trans. “Being Jamaican and having a relatively conservative upbringing, I just didn’t know what to expect.”\u003c/p>\n\u003cp>Green’s family attended a Southern Baptist church that taught a literal interpretation of the Bible. When he came out in ninth grade, Green’s mom was less than thrilled. Now, she is open and candid about her family’s journey. After all, says Claudette Green, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=204550149\" target=\"_blank\" rel=\"noopener noreferrer\">it started for her at home in Jamaica\u003c/a>, where she grew up hearing homophobic messages in church, on the news and in popular music.\u003c/p>\n\u003cp>“There were songs that glorified killing LGBTQ members,” she recalls. “There were actually laws on the books in Jamaica that you could go to jail if you were a member of the LGBTQ community.”\u003c/p>\n\u003cp>After Devin Green persuaded his mom to go to therapy, she was talked into attending a PFLAG meeting. “It was difficult for me because when I got there, I met families who were more accepting of their children and so I felt like a terrible parent,” she says. But Green was the opposite of a terrible parent. She and her kid talked. And most importantly, she listened. “Devin was an excellent teacher and I was a very good student,” she says.\u003c/p>\n\u003cp>And when the head of the local PFLAG chapter invited her out for coffee, she went. “She met me where I was,” Green says. “Going to PFLAG and seeing the love, it helped me dismantle some of the things I believed.”\u003c/p>\n\u003cp>Five years later, Green proudly marches in Pride parades. She’s changed her nursing career to focus on helping LGBTQ youth and she and her husband have supported other Caribbean families adjusting to LGBTQ kids. They’ve moved to a more affirming church and Green has just accepted a position on PFLAG’s Charlotte board.\u003c/p>\n\u003cfigure id=\"attachment_13915155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg\" alt=\"A group of smiling and waving people in matching blue t-shirts lead a celebratory march through sunny streets. Rainbow flags are held aloft in the background.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0.jpg 994w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Gabriel Valley’s Asian Pacific Islander chapter of PFLAG marches in support of LGBTQ friends and family at a recent Pride parade. \u003ccite>(PFLAG San Gabriel Valley API Chapter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, PFLAG’s executive director, \u003ca href=\"https://pflag.org/bio/brian-k-bond\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Bond\u003c/a>, says his organization has a long way to go.\u003c/p>\n\u003cp>“It’s predominantly white,” he says. But PFLAG is trying he says, with bilingual literature and developing spaces where people with similar backgrounds and cultural competencies can support each other online. He is haunted, however, by the people PFLAG does not reach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bond keeps a receipt in his wallet, he told NPR. It’s for the funeral of a 13-year-old trans kid who died by suicide a year and a half ago. His family had never heard of PFLAG. The organization paid for the child’s funeral anonymously.\u003c/p>\n\u003cp>“Interestingly enough, it was a state trooper that reached out to us,” Bond says. “And it’s not our job, but it’s what we needed to do in the moment. And making sure no family has to do that should be our ultimate goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times have changed but in some ways, they haven’t. PFLAG has new battles to fight. For the first time, \u003ca href=\"https://pflag.org/press-releases/PFLAGvAbbott\" target=\"_blank\" rel=\"noopener noreferrer\">it’s become the plaintiff in a lawsuit\u003c/a>, against the state of Texas to protect trans kids and their parents fighting for affirmative health care.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+PFLAG%27s+founder+marched+with+her+gay+son.+How%27s+it+keeping+up+in+2022%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Here's How Stephen Colbert Says His Staff Members Got Arrested on Capitol Hill",
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"content": "\u003cp>Stephen Colbert wasted no time in addressing news about his own show on Monday evening. The host of CBS’ \u003cem>Late Show\u003c/em> said hello and then asked the audience “Quick question, how was your weekend? I certainly had an interesting one, because some of my staff had a memorable one.”\u003c/p>\n\u003cp>Colbert was referring to news that came out on Friday that members of his staff and crew were arrested on Capitol Hill as they tried to film a segment featuring Triumph the Insult Comic Dog, a puppet voiced by Robert Smigel. The segment was focused on the Jan. 6 committee hearings.\u003c/p>\n\u003cfigure id=\"attachment_13915055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/gettyimages-1403317901-dd5db86d6254bf7f8571e96d8675c7208cca8ccd-800x600.jpg\" alt=\"A cameraman films a cigar-smoking dog puppet on the arm of a middle-aged man with a beard, wearing a black t-shirt and a baseball cap.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Actor and comedian Robert Smigel performs as Triumph the Insult Comic Dog in the hallways outside the House Select Committee to Investigate the January 6th Attack on the U.S. Capitol hearing. June 16, 2022 in Washington, DC. \u003ccite>(Chip Somodevilla/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Democratic and Republican congresspeople agreed to talk to Triumph,” Colbert said. “He’s a bipartisan puppy. He’s so neutral, he’s neutered.”\u003c/p>\n\u003cp>The production crew already had filmed for two days in congressional offices.\u003c/p>\n\u003cp>“They went through security clearance, shot all day Wednesday, all day Thursday, invited into the offices of the congresspeople they were interviewing,” Colbert said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the interviews on Thursday, the crew was filming some “last-minute puppetry” in a hallway at the Longworth House Office Building when they were approached and detained by the Capitol Police. They were processed and later released.\u003c/p>\n\u003cp>Colbert didn’t appear upset by what happened with the police and said it “actually, isn’t that surprising.”\u003c/p>\n\u003cp>[aside postid='pop_45742']“The Capitol police are much more cautious than they were, say, 18 months ago, and for a very good reason,” Colbert said, referring to the Jan. 6 insurrection.\u003c/p>\n\u003cp>He added that “If you don’t know what that reason is, I know what news network you watch,” Colbert added. \u003ca href=\"https://www.npr.org/2022/06/10/1104116455/fox-news-jan-6-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">Fox News chose not to air\u003c/a> the initial Jan. 6 committee hearing.\u003c/p>\n\u003cp>Overall, though, Colbert said the “Capitol Police were just doing their job,” and that everyone was professional and calm throughout the entire thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hri8Tr3Om_g\u003c/p>\n\u003cp>Colbert called it “a fairly simple story,” or at least it was “until the next night when a couple of the TV people started claiming that my puppet squad had quote ‘committed insurrection’ at the U.S. Capitol Building.”\u003c/p>\n\u003cp>The “TV people” that Colbert referenced included Fox News host Tucker Carlson, who called the CBS team “saboteurs” and falsely said that they breached the Capitol.\u003c/p>\n\u003cp>“They weren’t in the Capitol building,” Colbert said Monday night. “And I’m shocked I have to explain the difference—but an insurrection involves disrupting the lawful actions of Congress and howling for the blood of elected leaders, all to prevent the peaceful transfer of power.\u003c/p>\n\u003cp>“This was first-degree puppetry. Hijinks with intent to goof. Misappropriation of an old Conan bit.”\u003c/p>\n\u003cp>https://twitter.com/TriumphICDHQ/status/1537500939430633472\u003c/p>\n\u003cp>Colbert said the false narrative about his team was a predictable move by the conservative TV media.\u003c/p>\n\u003cp>“They want to talk about something other than the Jan. 6th hearings on the actual seditionist insurrection that led to the deaths of multiple people, and the injury of over 140 police officers,” Colbert said. “But drawing any equivalence between rioters storming our Capitol to prevent the counting of electoral ballots and a cigar-chomping toy dog, is a shameful and grotesque insult to the memory of everyone who died. And it obscenely trivializes the service and the courage the Capitol Police showed on that terrible day.”\u003c/p>\n\u003cp>[aside postid='arts_13891175']To make his point about how ludicrous it would be to call the segment filming an insurrection, Colbert joked about “the long history of puppet lawlessness” including the Jim Henson classic, \u003cem>The Great Muppet Caper.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But, in this case, our puppet was just a puppet doing puppet stuff,” Colbert said. “And sad to say, so much has changed in Washington that the Capitol Police do have to stay at high alert at all times because of the attack on Jan. 6th. And as the hearings prove more clearly every day, the blame for that \u003cem>actual \u003c/em>insurrection all lies with Putin’s puppet.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here%27s+how+Stephen+Colbert+says+his+staff+members+got+arrested+on+Capitol+Hill&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Colbert wasted no time in addressing news about his own show on Monday evening. The host of CBS’ \u003cem>Late Show\u003c/em> said hello and then asked the audience “Quick question, how was your weekend? I certainly had an interesting one, because some of my staff had a memorable one.”\u003c/p>\n\u003cp>Colbert was referring to news that came out on Friday that members of his staff and crew were arrested on Capitol Hill as they tried to film a segment featuring Triumph the Insult Comic Dog, a puppet voiced by Robert Smigel. The segment was focused on the Jan. 6 committee hearings.\u003c/p>\n\u003cfigure id=\"attachment_13915055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/gettyimages-1403317901-dd5db86d6254bf7f8571e96d8675c7208cca8ccd-800x600.jpg\" alt=\"A cameraman films a cigar-smoking dog puppet on the arm of a middle-aged man with a beard, wearing a black t-shirt and a baseball cap.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Actor and comedian Robert Smigel performs as Triumph the Insult Comic Dog in the hallways outside the House Select Committee to Investigate the January 6th Attack on the U.S. Capitol hearing. June 16, 2022 in Washington, DC. \u003ccite>(Chip Somodevilla/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Democratic and Republican congresspeople agreed to talk to Triumph,” Colbert said. “He’s a bipartisan puppy. He’s so neutral, he’s neutered.”\u003c/p>\n\u003cp>The production crew already had filmed for two days in congressional offices.\u003c/p>\n\u003cp>“They went through security clearance, shot all day Wednesday, all day Thursday, invited into the offices of the congresspeople they were interviewing,” Colbert said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The Capitol police are much more cautious than they were, say, 18 months ago, and for a very good reason,” Colbert said, referring to the Jan. 6 insurrection.\u003c/p>\n\u003cp>He added that “If you don’t know what that reason is, I know what news network you watch,” Colbert added. \u003ca href=\"https://www.npr.org/2022/06/10/1104116455/fox-news-jan-6-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">Fox News chose not to air\u003c/a> the initial Jan. 6 committee hearing.\u003c/p>\n\u003cp>Overall, though, Colbert said the “Capitol Police were just doing their job,” and that everyone was professional and calm throughout the entire thing.\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/Hri8Tr3Om_g'\n title='//www.youtube.com/embed/Hri8Tr3Om_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Colbert called it “a fairly simple story,” or at least it was “until the next night when a couple of the TV people started claiming that my puppet squad had quote ‘committed insurrection’ at the U.S. Capitol Building.”\u003c/p>\n\u003cp>The “TV people” that Colbert referenced included Fox News host Tucker Carlson, who called the CBS team “saboteurs” and falsely said that they breached the Capitol.\u003c/p>\n\u003cp>“They weren’t in the Capitol building,” Colbert said Monday night. “And I’m shocked I have to explain the difference—but an insurrection involves disrupting the lawful actions of Congress and howling for the blood of elected leaders, all to prevent the peaceful transfer of power.\u003c/p>\n\u003cp>“This was first-degree puppetry. Hijinks with intent to goof. Misappropriation of an old Conan bit.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To make his point about how ludicrous it would be to call the segment filming an insurrection, Colbert joked about “the long history of puppet lawlessness” including the Jim Henson classic, \u003cem>The Great Muppet Caper.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But, in this case, our puppet was just a puppet doing puppet stuff,” Colbert said. “And sad to say, so much has changed in Washington that the Capitol Police do have to stay at high alert at all times because of the attack on Jan. 6th. And as the hearings prove more clearly every day, the blame for that \u003cem>actual \u003c/em>insurrection all lies with Putin’s puppet.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here%27s+how+Stephen+Colbert+says+his+staff+members+got+arrested+on+Capitol+Hill&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. 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Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VgYVtqeVK3I\u003c/p>\n\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>[aside postid='arts_13914146']He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\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/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\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/VgYVtqeVK3I'\n title='//www.youtube.com/embed/VgYVtqeVK3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This year, NPR Music is celebrating Black Music Month with an array of brand new Tiny Desk concerts—both from home and from behind our beloved Desk. Together, these artists represent the past, present and future of Black music. This month of carefully curated shows is a celebration of Black artists expressing themselves in ways we’ve never seen before, and of the Tiny Desk’s unique way of showcasing that talent.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[aside postid='arts_13860137']Larry June is the indie-rap hustle personified. His graduation from the streets has made way for his true purpose in rhyme: healthy living. The organic fruits and juices on the table in this performance indicate the lifestyle fervently pushed in his music. The two cell phones sitting beside him remind us that business is booming. He starts with a few signature adlibs before imploring, “Don’t check me / Check the air quality.” This lavish living room setting, with the Los Angeles night sky as a backdrop, sets the proper mood for Larry June’s Tiny Desk (home) concert.\u003c/p>\n\u003cp>The Bay Area emcee has been at this for a while, adopting the independent approach like many before him: saturating the market with product and profiting from shows and merch. While much of the music industry stumbled and stalled during the uncertainty of 2020, Larry put up numbers, releasing half a dozen projects from his home studio. Here, he’s able to comfortably sit back in the laid-back tone we’re used to hearing on his records and not the dialed-up mood of his stage show. His band, The NME, replays and beefs up the sample on 2020’s “Just me & you,” plus songs from 2019’s \u003cem>Out The Trunk\u003c/em> and \u003cem>Early Bird\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F8SjbnDxCy8\u003c/p>\n\u003cp>In theory, a motivational rapper rapping about bike rides, hikes and investments would be deemed shtick in 2022—yet he’s here, authentic and refreshing. Good job, Larry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“SLS 30 Days”\u003c/li>\n\u003cli>“Just me & you”\u003c/li>\n\u003cli>“Dear, Snow”\u003c/li>\n\u003cli>“Let’s Drive To Vegas”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Larry June: vocals\u003c/li>\n\u003cli>Isaac Oshuntola: bass\u003c/li>\n\u003cli>Eddie Hamilton: guitar\u003c/li>\n\u003cli>Jarrett Freeman: keys\u003c/li>\n\u003cli>Jack Monk: guitar\u003c/li>\n\u003cli>Brandon Stennett: drums\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>CREDITS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Marco Alexander, Andrew Min\u003c/li>\n\u003cli>Video Assistant: Kian Wang\u003c/li>\n\u003cli>Recording Engineer: Migui Maloles\u003c/li>\n\u003cli>Assistant Recording Engineer: Joshua “Jay Que” Queen\u003c/li>\n\u003cli>Mixed by: Migui Maloles, Todd Cooper\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Bobby Carter\u003c/li>\n\u003cli>Video Producer: Michael Zamora\u003c/li>\n\u003cli>Audio Mastering: Josh Rogosin\u003c/li>\n\u003cli>Animation: Kaz Fantone\u003c/li>\n\u003cli>Tiny Production Team: Bob Boilen, Kara Frame, Joshua Bryant, Maia Stern, Ashley Pointer\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003cli>Senior VP, Programming: Anya Grundmann\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Larry+June%3A+Tiny+Desk+%28Home%29+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Larry June is the indie-rap hustle personified. His graduation from the streets has made way for his true purpose in rhyme: healthy living. The organic fruits and juices on the table in this performance indicate the lifestyle fervently pushed in his music. The two cell phones sitting beside him remind us that business is booming. He starts with a few signature adlibs before imploring, “Don’t check me / Check the air quality.” This lavish living room setting, with the Los Angeles night sky as a backdrop, sets the proper mood for Larry June’s Tiny Desk (home) concert.\u003c/p>\n\u003cp>The Bay Area emcee has been at this for a while, adopting the independent approach like many before him: saturating the market with product and profiting from shows and merch. While much of the music industry stumbled and stalled during the uncertainty of 2020, Larry put up numbers, releasing half a dozen projects from his home studio. Here, he’s able to comfortably sit back in the laid-back tone we’re used to hearing on his records and not the dialed-up mood of his stage show. His band, The NME, replays and beefs up the sample on 2020’s “Just me & you,” plus songs from 2019’s \u003cem>Out The Trunk\u003c/em> and \u003cem>Early Bird\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F8SjbnDxCy8'\n title='//www.youtube.com/embed/F8SjbnDxCy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In theory, a motivational rapper rapping about bike rides, hikes and investments would be deemed shtick in 2022—yet he’s here, authentic and refreshing. Good job, Larry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2016, poet Ryann Stevenson wasn’t feeling very stimulated at her publishing job in New York. Then, her husband got a job in the Bay Area.\u003c/p>\n\u003cp>[aside postid='arts_13912523']“As we were thinking about our move, someone shared with me [an] article I think that came out in \u003cem>The\u003c/em> \u003cem>Washington Post\u003c/em>, titled ‘\u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2016/04/07/why-poets-are-flocking-to-silicon-valley/\" target=\"_blank\" rel=\"noopener noreferrer\">The next hot job in Silicon Valley is for poets\u003c/a>‘, Stevenson says. “And I basically just emailed every startup that was listed or mentioned in that article and ended up talking with a CEO of a very small startup right away.”\u003c/p>\n\u003cp>As Stevenson started designing voices for an artificial intelligence startup, she realized she was thinking about poetry every day.\u003c/p>\n\u003cp>Now, her debut poetry collection, \u003cem>Human Resources, \u003c/em>comes out this week—and shows how she came into her own voice as a poet.\u003c/p>\n\u003cfigure id=\"attachment_13914836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-800x1236.jpg\" alt=\"A book cover shows an abstract pixelated outline of a human head and shoulders.\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-1325x2048.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Human Resources’ by Ryann Stevenson. \u003ccite>(Milkweed Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the first couple of jobs that I had, we were designing conversational interfaces for speakers, like smart speakers, and I was thinking a lot about voice and disembodied speakers calling to an unknown user,” she says. “To me, this had a direct correlation to poetry, the speaker of a poem, and the readers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Human Resources\u003c/em>, the speaker is often isolated, even as she’s building technology that’s supposed to help connect people. Much of this isolation, the poet conveys, came from being a woman in a male-dominated industry.\u003c/p>\n\u003cp>“Building voices that are designed to be predominantly female and thinking about that from my point of view, as usual as one of the only women in the room, was something that I was navigating.”\u003c/p>\n\u003cp>She talks about this in her poem “The Valley”. Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>We want them to look and act human\u003cbr>\nbut not too real. Get it?\u003cbr>\n\u003c/em>my boss said, touching the dip in a line graph—\u003cbr>\nthe uncanny valley.\u003c/p>\n\u003cp>We worked on his boat.\u003cbr>\nHe said that made our company a ship\u003cbr>\nand he, our captain.\u003cbr>\nIn an interview about gender bias in AI\u003c/p>\n\u003cp>I overheard him say that he was proud\u003cbr>\nto have built his ship\u003cbr>\nout of women. I understood\u003cbr>\nthose women to be me.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13913622']By thinking about connecting with an unknown being on the other side of a screen or a speaker, Stevenson addresses a kind of detachment that is a result of modern technology. And yet, by thinking of the woman’s role in a male-dominated space, she actually joins a sisterhood of poets who bravely capture the feeling of female isolation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Human Resources\u003c/em> won the 2021 Max Ritvo Poetry Prize and was selected by Henri Cole.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Human+Resources%2C%27+a+poet+finds+her+voice+by+working+on+artificial+intelligence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As we were thinking about our move, someone shared with me [an] article I think that came out in \u003cem>The\u003c/em> \u003cem>Washington Post\u003c/em>, titled ‘\u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2016/04/07/why-poets-are-flocking-to-silicon-valley/\" target=\"_blank\" rel=\"noopener noreferrer\">The next hot job in Silicon Valley is for poets\u003c/a>‘, Stevenson says. “And I basically just emailed every startup that was listed or mentioned in that article and ended up talking with a CEO of a very small startup right away.”\u003c/p>\n\u003cp>As Stevenson started designing voices for an artificial intelligence startup, she realized she was thinking about poetry every day.\u003c/p>\n\u003cp>Now, her debut poetry collection, \u003cem>Human Resources, \u003c/em>comes out this week—and shows how she came into her own voice as a poet.\u003c/p>\n\u003cfigure id=\"attachment_13914836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-800x1236.jpg\" alt=\"A book cover shows an abstract pixelated outline of a human head and shoulders.\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0-1325x2048.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/humanresources_300dpi_rgb_custom-2638cd3f45ef1acc7b4eb40fe45fb976ab8203f0.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Human Resources’ by Ryann Stevenson. \u003ccite>(Milkweed Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the first couple of jobs that I had, we were designing conversational interfaces for speakers, like smart speakers, and I was thinking a lot about voice and disembodied speakers calling to an unknown user,” she says. “To me, this had a direct correlation to poetry, the speaker of a poem, and the readers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Human Resources\u003c/em>, the speaker is often isolated, even as she’s building technology that’s supposed to help connect people. Much of this isolation, the poet conveys, came from being a woman in a male-dominated industry.\u003c/p>\n\u003cp>“Building voices that are designed to be predominantly female and thinking about that from my point of view, as usual as one of the only women in the room, was something that I was navigating.”\u003c/p>\n\u003cp>She talks about this in her poem “The Valley”. Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>We want them to look and act human\u003cbr>\nbut not too real. Get it?\u003cbr>\n\u003c/em>my boss said, touching the dip in a line graph—\u003cbr>\nthe uncanny valley.\u003c/p>\n\u003cp>We worked on his boat.\u003cbr>\nHe said that made our company a ship\u003cbr>\nand he, our captain.\u003cbr>\nIn an interview about gender bias in AI\u003c/p>\n\u003cp>I overheard him say that he was proud\u003cbr>\nto have built his ship\u003cbr>\nout of women. I understood\u003cbr>\nthose women to be me.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By thinking about connecting with an unknown being on the other side of a screen or a speaker, Stevenson addresses a kind of detachment that is a result of modern technology. And yet, by thinking of the woman’s role in a male-dominated space, she actually joins a sisterhood of poets who bravely capture the feeling of female isolation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Human Resources\u003c/em> won the 2021 Max Ritvo Poetry Prize and was selected by Henri Cole.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Human+Resources%2C%27+a+poet+finds+her+voice+by+working+on+artificial+intelligence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer songwriter Lizzo has re-released her new single “Grrrls” with a lyric change after it sparked heated discussions online about ableist language.\u003c/p>\n\u003cp>The song, which is set to appear on her upcoming album \u003cem>Special\u003c/em>, received praise and excitement from many fans upon its release last Friday. Others, especially those within the disability community, expressed concern about her use of the word “spaz,” which many consider an ableist slur.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4r9TbKLCus0\u003c/p>\n\u003cp>It originates from the term “spastic,” which has historically been used to describe people with spastic paralysis and cerebral palsy. Often used in a derogatory way to describe people in the disability community, “spaz” or “spaz out” has also been used to refer to someone losing physical control or simply acting “weird” or “uncool.” \u003cem>Webster’s New World College Dictionary\u003c/em> defines it as “someone regarded as being clumsy, awkward, stupid, odd, etc.”\u003c/p>\n\u003cp>Lizzo released a statement on Monday acknowledging the “harmful word” in her song and announcing a rerecorded version of the song without the slur in it. “I never want to promote derogatory language. As a fat black woman in America, I’ve had many hurtful words used against me so I overstand the power words can have (whether intentionally or in my case, unintentionally),” she wrote in her statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/Cew0HrlPhEq/\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+rerecords+%27Grrrls%27+following+criticism+over+ableist+lyric&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer songwriter Lizzo has re-released her new single “Grrrls” with a lyric change after it sparked heated discussions online about ableist language.\u003c/p>\n\u003cp>The song, which is set to appear on her upcoming album \u003cem>Special\u003c/em>, received praise and excitement from many fans upon its release last Friday. Others, especially those within the disability community, expressed concern about her use of the word “spaz,” which many consider an ableist slur.\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/4r9TbKLCus0'\n title='//www.youtube.com/embed/4r9TbKLCus0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It originates from the term “spastic,” which has historically been used to describe people with spastic paralysis and cerebral palsy. Often used in a derogatory way to describe people in the disability community, “spaz” or “spaz out” has also been used to refer to someone losing physical control or simply acting “weird” or “uncool.” \u003cem>Webster’s New World College Dictionary\u003c/em> defines it as “someone regarded as being clumsy, awkward, stupid, odd, etc.”\u003c/p>\n\u003cp>Lizzo released a statement on Monday acknowledging the “harmful word” in her song and announcing a rerecorded version of the song without the slur in it. “I never want to promote derogatory language. As a fat black woman in America, I’ve had many hurtful words used against me so I overstand the power words can have (whether intentionally or in my case, unintentionally),” she wrote in her statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Yes, I'm a Disney Adult. Let Me Explain",
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"content": "\u003cp>Hi. My name is Aisha, and I’m a Disney Adult.\u003c/p>\n\u003cp>But I’m not like those other Disney Adults out there—I’m a \u003cem>cool \u003c/em>Disney Adult.\u003c/p>\n\u003cp>I’ve certainly never\u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\"> thrown a wedding\u003c/a> where I made my guests figure out their own way of getting fed during the reception, because my partner and I chose to spend the thousands of dollars our parents budgeted for catering on guest appearances by Mickey and Minnie Mouse. Could never be me.\u003c/p>\n\u003cp>(My partner \u003cem>did \u003c/em>propose to me while we were in Disney World celebrating my 30th birthday. That’s cool, though.)\u003c/p>\n\u003cp>I have absolutely zero interest in living in a residential community\u003ca href=\"https://www.hollywoodreporter.com/lifestyle/real-estate/disney-residential-storyliving-community-cotino-coachella-valley-1235095311/\" target=\"_blank\" rel=\"noopener noreferrer\"> owned by Disney\u003c/a> and staffed with Disney cast members—what fresh \u003cem>Twilight Zone\u003c/em> hell might that turn out to be?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Still, I \u003cem>do \u003c/em>have Disney playlists in my regular rotation for working background music, and yes, I know every lyric to “Thomas O’Malley Cat” from \u003cem>The Aristocats\u003c/em>. I’m still cool, though.)\u003c/p>\n\u003cp>I would never refer to my partner as my “\u003ca href=\"https://www.instagram.com/p/CelyiLZLHa2/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Disney prince\u003c/a>“—yech!\u003c/p>\n\u003cp>(But we \u003cem>do\u003c/em> watch Disney movies old and new together, and have seen \u003cem>Aladdin\u003c/em>, \u003cem>Frozen\u003c/em>, and \u003cem>The Lion King \u003c/em>on Broadway. In case you’re wondering, we have no children, and emphatically don’t want them. We’re still cool, though.)\u003c/p>\n\u003cp>[aside postid='pop_112074']Fandom is a weird thing. It’s a state of being where at least a bit of fantasy inherently comes into play regardless of the medium, and the internet, with its memes and Tumblr pages and interest groups, has only made this more obvious while giving us myriad new ways to demonstrate being a fan. It’s also interesting to witness the ever-morphing hierarchies of fandom within the cultural zeitgeist, and what’s considered cool to obsess over and what’s not. Comic book nerds, for example, once a niche population and the butt of jokes, have more or less swallowed mainstream popular culture as a whole, thanks to the Marvelization of … well, everything.\u003c/p>\n\u003cp>This past week emphasized how not all fandoms are treated equally, thanks to a viral “Am I the Asshole” Reddit post that may or may not be a true story. In case you’re unfamiliar with “AITA,” as it’s called, it’s the judgy gift that keeps on giving, a popular Reddit subhead where users post their personal conundrums and then ask the rest of the world to decide whether they were in the wrong or right. \u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609\" target=\"_blank\" rel=\"noopener noreferrer\">This particularly chaotic post\u003c/a> about the couple who chose Mickey and Minnie over feeding their guests sparked the snarkiest wave of derision on the fandom known as “Disney Adults,” understandably. Tweets like “We need to study the\u003ca href=\"https://twitter.com/EJpineapplSLICE/status/1533910536403959809?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> minds of Disney adults\u003c/a> like we do serial killers” and “I’ve said it once, I’ll say it now, and I’ll say it 100 more times.\u003ca href=\"https://twitter.com/BaileyCarlin/status/1533809376489881600\" target=\"_blank\" rel=\"noopener noreferrer\"> Disney adults are the absolute worst people\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Way harsh, Tai.\u003c/em>\u003c/p>\n\u003cp>Making matters worse was the well-intentioned religious studies professor who swooped in to defend my ilk with\u003ca href=\"https://twitter.com/jeichlerlevine/status/1533909820453142530?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> a thread\u003c/a> that basically boiled down to “Don’t pathologize these people; to them this is like religion, except instead of worshipping hypothetical gods, they worship a corporate entity!” Twitter went into overdrive, swarming upon and devouring this professor’s infantilizing thread as if they were the hyenas descending upon Scar. The responses were golden.\u003c/p>\n\u003cp>I don’t actually care if people make fun of Disney Adults. A lot of the jokes are actually pretty funny. It’s a weird, quirky thing to re-watch \u003cem>Lady and the Tramp \u003c/em>every so often once you surpass the age of, say, 12! I own that.\u003c/p>\n\u003cp>[aside postid='arts_13883519']On the other hand, I find the\u003ca href=\"https://www.insider.com/woman-who-cried-while-meeting-goofy-interview-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\"> intense vitriol\u003c/a>—not the jokes, but the suggestions this is on par with religion or a cult—to be more than a bit confounding. From where I stand, Disney Adults don’t appear to be the kind of fandom that cares much about what others think about us, or the things we like. I don’t see them enacting massive doxing campaigns against anyone who dares say a bad word about \u003cem>Encanto\u003c/em>, like fans of certain pop stars or superhero movies. Maybe it’s because I’m a cool Disney Adult and don’t run in those circles? I don’t know.\u003c/p>\n\u003cp>Part of it seems to stem from an understandable disdain for Disney as a corporate monopoly, and all the negatives that have come from that. (For one: \u003ca href=\"https://www.npr.org/2022/03/08/1085130633/disney-response-florida-bill-dont-say-gay\" target=\"_blank\" rel=\"noopener noreferrer\">The company’s position as financially beholden to political groups that are actively trying to strip basic human rights\u003c/a>.) I agree with those critics; no one brand should have all this power.\u003c/p>\n\u003cp>The bigger component, though, is probably Disney’s “wholesome” and child-friendly image, which has been meticulously ingrained in the public imagination since the brand’s inception. Despite owning everything under the sun, from \u003cem>Star Wars \u003c/em>to Marvel to the Muppets to Pixar, the Disney brand remains lodged in people’s minds as nothing more than that iconographic image of Tinker Bell tapping Cinderella’s castle with her wand. To say something has been “Disneyfied” is dismissive shorthand for watered-down, chaste, safe, conservative. The company does plenty of things to project this fluffy image (ahem, that very hyped “exclusively gay” moment that turned out to just be\u003ca href=\"https://www.vulture.com/2017/03/heres-the-exclusively-gay-moment-in-beauty-and-the-beast.html\" target=\"_blank\" rel=\"noopener noreferrer\"> a couple seconds\u003c/a> of two guys dancing together), so I get it. I can see how it seems like the equivalent of continuing to enjoy \u003cem>Blue’s Clues \u003c/em>even after you’ve reached 5th grade—to like a product ostensibly targeted at kids is to somehow exist in a state of arrested development and be disconnected from reality, so the thinking goes.\u003c/p>\n\u003cp>To which I say: All fiction requires the audience to disconnect from reality! That’s the point! Also, have you seen \u003cem>Pinocchio \u003c/em>recently? That entire Pleasure Island sequence is like a PG-rated precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Fritz_the_Cat_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fritz the Cat\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>Even the term “Disney Adult” suggests it’s something of an oxymoron, an incongruous identity—we don’t go around calling people Muppet Grown-Ups or Mature \u003cem>Star Wars \u003c/em>fans, even as these fantastical franchises also appeal to people of all ages. \u003cem>Sigh.\u003c/em>\u003c/p>\n\u003cp>[aside postid='pop_97638']What it all boils down to is this: The Disney products we associate with princesses and talking animal sidekicks and musicals will never be “cool,” even as they’ve become the blueprint for cultural commodification in nearly every corner of western culture for nearly a century. And that’s fine! On the social ladder of pop culture fandom, Disney Adults are the theater kids. (Yes, in case you were wondering, I was a theater kid, too. A cool one, though.) We’re passionate—some a little too much so—and have a tendency to burst out into song at unexpected moments. We like to rank villains and princes, and drop way too much money for the chance to ride Space Mountain. We are an acquired taste. Just like every other cult–er, fandom.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This essay first appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations on what’s making us happy.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more,\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yes%2C+I%27m+a+Disney+Adult.+Let+me+explain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hi. My name is Aisha, and I’m a Disney Adult.\u003c/p>\n\u003cp>But I’m not like those other Disney Adults out there—I’m a \u003cem>cool \u003c/em>Disney Adult.\u003c/p>\n\u003cp>I’ve certainly never\u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\"> thrown a wedding\u003c/a> where I made my guests figure out their own way of getting fed during the reception, because my partner and I chose to spend the thousands of dollars our parents budgeted for catering on guest appearances by Mickey and Minnie Mouse. Could never be me.\u003c/p>\n\u003cp>(My partner \u003cem>did \u003c/em>propose to me while we were in Disney World celebrating my 30th birthday. That’s cool, though.)\u003c/p>\n\u003cp>I have absolutely zero interest in living in a residential community\u003ca href=\"https://www.hollywoodreporter.com/lifestyle/real-estate/disney-residential-storyliving-community-cotino-coachella-valley-1235095311/\" target=\"_blank\" rel=\"noopener noreferrer\"> owned by Disney\u003c/a> and staffed with Disney cast members—what fresh \u003cem>Twilight Zone\u003c/em> hell might that turn out to be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Still, I \u003cem>do \u003c/em>have Disney playlists in my regular rotation for working background music, and yes, I know every lyric to “Thomas O’Malley Cat” from \u003cem>The Aristocats\u003c/em>. I’m still cool, though.)\u003c/p>\n\u003cp>I would never refer to my partner as my “\u003ca href=\"https://www.instagram.com/p/CelyiLZLHa2/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Disney prince\u003c/a>“—yech!\u003c/p>\n\u003cp>(But we \u003cem>do\u003c/em> watch Disney movies old and new together, and have seen \u003cem>Aladdin\u003c/em>, \u003cem>Frozen\u003c/em>, and \u003cem>The Lion King \u003c/em>on Broadway. In case you’re wondering, we have no children, and emphatically don’t want them. We’re still cool, though.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fandom is a weird thing. It’s a state of being where at least a bit of fantasy inherently comes into play regardless of the medium, and the internet, with its memes and Tumblr pages and interest groups, has only made this more obvious while giving us myriad new ways to demonstrate being a fan. It’s also interesting to witness the ever-morphing hierarchies of fandom within the cultural zeitgeist, and what’s considered cool to obsess over and what’s not. Comic book nerds, for example, once a niche population and the butt of jokes, have more or less swallowed mainstream popular culture as a whole, thanks to the Marvelization of … well, everything.\u003c/p>\n\u003cp>This past week emphasized how not all fandoms are treated equally, thanks to a viral “Am I the Asshole” Reddit post that may or may not be a true story. In case you’re unfamiliar with “AITA,” as it’s called, it’s the judgy gift that keeps on giving, a popular Reddit subhead where users post their personal conundrums and then ask the rest of the world to decide whether they were in the wrong or right. \u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609\" target=\"_blank\" rel=\"noopener noreferrer\">This particularly chaotic post\u003c/a> about the couple who chose Mickey and Minnie over feeding their guests sparked the snarkiest wave of derision on the fandom known as “Disney Adults,” understandably. Tweets like “We need to study the\u003ca href=\"https://twitter.com/EJpineapplSLICE/status/1533910536403959809?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> minds of Disney adults\u003c/a> like we do serial killers” and “I’ve said it once, I’ll say it now, and I’ll say it 100 more times.\u003ca href=\"https://twitter.com/BaileyCarlin/status/1533809376489881600\" target=\"_blank\" rel=\"noopener noreferrer\"> Disney adults are the absolute worst people\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Way harsh, Tai.\u003c/em>\u003c/p>\n\u003cp>Making matters worse was the well-intentioned religious studies professor who swooped in to defend my ilk with\u003ca href=\"https://twitter.com/jeichlerlevine/status/1533909820453142530?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> a thread\u003c/a> that basically boiled down to “Don’t pathologize these people; to them this is like religion, except instead of worshipping hypothetical gods, they worship a corporate entity!” Twitter went into overdrive, swarming upon and devouring this professor’s infantilizing thread as if they were the hyenas descending upon Scar. The responses were golden.\u003c/p>\n\u003cp>I don’t actually care if people make fun of Disney Adults. A lot of the jokes are actually pretty funny. It’s a weird, quirky thing to re-watch \u003cem>Lady and the Tramp \u003c/em>every so often once you surpass the age of, say, 12! I own that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the other hand, I find the\u003ca href=\"https://www.insider.com/woman-who-cried-while-meeting-goofy-interview-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\"> intense vitriol\u003c/a>—not the jokes, but the suggestions this is on par with religion or a cult—to be more than a bit confounding. From where I stand, Disney Adults don’t appear to be the kind of fandom that cares much about what others think about us, or the things we like. I don’t see them enacting massive doxing campaigns against anyone who dares say a bad word about \u003cem>Encanto\u003c/em>, like fans of certain pop stars or superhero movies. Maybe it’s because I’m a cool Disney Adult and don’t run in those circles? I don’t know.\u003c/p>\n\u003cp>Part of it seems to stem from an understandable disdain for Disney as a corporate monopoly, and all the negatives that have come from that. (For one: \u003ca href=\"https://www.npr.org/2022/03/08/1085130633/disney-response-florida-bill-dont-say-gay\" target=\"_blank\" rel=\"noopener noreferrer\">The company’s position as financially beholden to political groups that are actively trying to strip basic human rights\u003c/a>.) I agree with those critics; no one brand should have all this power.\u003c/p>\n\u003cp>The bigger component, though, is probably Disney’s “wholesome” and child-friendly image, which has been meticulously ingrained in the public imagination since the brand’s inception. Despite owning everything under the sun, from \u003cem>Star Wars \u003c/em>to Marvel to the Muppets to Pixar, the Disney brand remains lodged in people’s minds as nothing more than that iconographic image of Tinker Bell tapping Cinderella’s castle with her wand. To say something has been “Disneyfied” is dismissive shorthand for watered-down, chaste, safe, conservative. The company does plenty of things to project this fluffy image (ahem, that very hyped “exclusively gay” moment that turned out to just be\u003ca href=\"https://www.vulture.com/2017/03/heres-the-exclusively-gay-moment-in-beauty-and-the-beast.html\" target=\"_blank\" rel=\"noopener noreferrer\"> a couple seconds\u003c/a> of two guys dancing together), so I get it. I can see how it seems like the equivalent of continuing to enjoy \u003cem>Blue’s Clues \u003c/em>even after you’ve reached 5th grade—to like a product ostensibly targeted at kids is to somehow exist in a state of arrested development and be disconnected from reality, so the thinking goes.\u003c/p>\n\u003cp>To which I say: All fiction requires the audience to disconnect from reality! That’s the point! Also, have you seen \u003cem>Pinocchio \u003c/em>recently? That entire Pleasure Island sequence is like a PG-rated precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Fritz_the_Cat_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fritz the Cat\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>Even the term “Disney Adult” suggests it’s something of an oxymoron, an incongruous identity—we don’t go around calling people Muppet Grown-Ups or Mature \u003cem>Star Wars \u003c/em>fans, even as these fantastical franchises also appeal to people of all ages. \u003cem>Sigh.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What it all boils down to is this: The Disney products we associate with princesses and talking animal sidekicks and musicals will never be “cool,” even as they’ve become the blueprint for cultural commodification in nearly every corner of western culture for nearly a century. And that’s fine! On the social ladder of pop culture fandom, Disney Adults are the theater kids. (Yes, in case you were wondering, I was a theater kid, too. A cool one, though.) We’re passionate—some a little too much so—and have a tendency to burst out into song at unexpected moments. We like to rank villains and princes, and drop way too much money for the chance to ride Space Mountain. We are an acquired taste. Just like every other cult–er, fandom.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This essay first appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations on what’s making us happy.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more,\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yes%2C+I%27m+a+Disney+Adult.+Let+me+explain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Judy Garland at 100: A Starter Guide Beyond the Yellow Brick Road",
"headTitle": "Judy Garland at 100: A Starter Guide Beyond the Yellow Brick Road | KQED",
"content": "\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>[aside postid='pop_105554']But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=00aP8m5sBJo\u003c/p>\n\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OL3EIVwZ60w&t=1s\u003c/p>\n\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3aUAiLU0TI\u003c/p>\n\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q7d0NRewzW4&t=1s\u003c/p>\n\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PwA6K_EmAQ\u003c/p>\n\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K48JkClgYIs\u003c/p>\n\u003cp>[aside postid='pop_105976']Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jc1C4Pw6rxo&list=PLtpFM3sDaV_gA7QfNrH01Upo1ppGvwUdm&index=2\u003c/p>\n\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dtuqejF0Jg8\u003c/p>\n\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zFVxX3RtyhQ\u003c/p>\n\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/00aP8m5sBJo'\n title='//www.youtube.com/embed/00aP8m5sBJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\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/OL3EIVwZ60w'\n title='//www.youtube.com/embed/OL3EIVwZ60w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\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/J3aUAiLU0TI'\n title='//www.youtube.com/embed/J3aUAiLU0TI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\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/q7d0NRewzW4'\n title='//www.youtube.com/embed/q7d0NRewzW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\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/4PwA6K_EmAQ'\n title='//www.youtube.com/embed/4PwA6K_EmAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\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/K48JkClgYIs'\n title='//www.youtube.com/embed/K48JkClgYIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\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/Jc1C4Pw6rxo'\n title='//www.youtube.com/embed/Jc1C4Pw6rxo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\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/dtuqejF0Jg8'\n title='//www.youtube.com/embed/dtuqejF0Jg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\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/zFVxX3RtyhQ'\n title='//www.youtube.com/embed/zFVxX3RtyhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Queer As Folk' Gets a Stiletto-Heeled Reboot That Takes Time to Feel Comfortable",
"headTitle": "‘Queer As Folk’ Gets a Stiletto-Heeled Reboot That Takes Time to Feel Comfortable | KQED",
"content": "\u003cp>If you’ve been tasked with rebooting\u003cem> Queer as Folk \u003c/em>for the present day, and wish to stick to the general narrative parameters shared by both the original U.K. series and the U.S. series that followed (they ran on Channel 4 and Showtime, respectively, back at the turn of the century), here’s what you will need to bring to the table.\u003c/p>\n\u003cp>1. A blithe, defiantly melodramatic sensibility (\u003cem>QaF\u003c/em> is a soap, first, last and always) and a cast of …\u003c/p>\n\u003cp>2. Queer characters who have explicit sex a tremendous lot, most of whom are …\u003c/p>\n\u003cp>3. Noxiously self-involved if not lightly repellent, yet who somehow manage to remain surrounded by a tight circle of mystifyingly supportive friends, all of whom talk in …\u003c/p>\n\u003cp>4. Breezy dialogue that tends to lapse into distinctly non-breezy self-righteous speechifying, and/or …\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>5. A fusillade of queer pop-culture references that serve as a series of dog-whistles to reassure queer audiences that they’re represented in the show’s writers room.\u003c/p>\n\u003cp>Which is to say, both the original U.K. and U.S. series were sexy, sometimes funny, sometimes moving, but deeply flawed projects. And while they are to be commended for storytelling that was always less concerned with chasing mainstream straight acceptance than the \u003cem>Will and Grace\u003c/em>-s of the world, both told their stories from a narrow and familiar point of view that centered the travails of the young, white, cis gay man with a gym membership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PL-fFiKGTTY\u003c/p>\n\u003cp>The new \u003cem>Queer as Folk\u003c/em> has broadened the palette, which means it can tell stories and give voice to characters the old series never could or did. Even so, many of the old flaws persist: The characters are selfish and hopelessly enamored of themselves. Dialogue veers from an affronted lecture about intersectionality to a really solid joke about poppers.\u003c/p>\n\u003cp>[aside postid='arts_13904458']What’s new, besides the series’ matter-of-fact diversity, is how much the show’s creators have clearly thought about depicting its range of characters and situations, and giving them real reasons to meaningfully co-exist within the same social circle. The queer community’s tendency to build and police strict silos based on race, age, body type, gender, income and disability was not something the old homogenous \u003cem>Queer as Folk \u003c/em>series felt they needed to address, and largely didn’t.\u003c/p>\n\u003cp>But the new \u003cem>Queer as Folk\u003c/em> eagerly embraces the challenge of creating a diverse network of characters not merely for the sake of doing so, but as a means to let them meaningfully interact and delineate themselves, to variously clash and come together until they emerge as fuller, more rounded people in the eyes of the viewer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kq2ShKuPD2o\u003c/p>\n\u003cp>Some relationships are simple enough to diagram. Brodie (Devin Way) is a young hot gay man who returns to New Orleans after dropping out of med school, to the dismay of his adoptive parents, played by Ed Begley Jr. and, because the universe is beneficent, Kim Cattrall. Brodie is best friends with Ruthie (Jesse James Keitel), a trans woman who’s married to Shar (CG), a non-binary person who’s pregnant with twins. In the pilot, Brodie selfishly urges Ruthie to join him for a night out, which she does, selfishly. (You perhaps begin to detect a theme, here.)\u003c/p>\n\u003cp>There’s also Noah (Johnny Sibily), Brodie’s ex, who’s hiding the fact that he’s been hooking up with Daddius (Chris Renfro) for reasons that soon become clear. There’s Mingus (Fin Argus), one of Ruthie’s high school students who’s taking their first steps into embracing drag. And there’s Julian (Ryan O’Connell), Brodie’s sardonically nerdy younger brother who was born with cerebral palsy.\u003c/p>\n\u003cp>Had the series contented itself with this clutch of characters, it could have churned through soapy plot turns—betrayals, breakups, revelations, etc.—in the desultory way the old \u003cem>QaFs\u003c/em> did.\u003c/p>\n\u003cp>[aside postid='arts_13904394']But creator Stephen Dunn introduces a controversial element in the pilot—a mass shooting in a gay club frequented by many of the above characters, not all of whom survive.\u003c/p>\n\u003cp>Were this event used simply to dramatize the threat faced by the queer community, it might come off as tasteless and a bit ham-fisted, maybe even exploitive. But the series quickly becomes about the reverberations of that traumatic event, and how it causes the various characters to spin out in a number of different ways.\u003c/p>\n\u003cp>And by involving the violation of a queer public space in the narrative, the series finds a way to neatly incorporate the viewpoints of characters outside of the already-established friend group—club patrons like the drag queen Bussey (Armand Fields) and Marvin (Eric Graise), a guarded, reflexively jaded young man who uses a wheelchair. Both characters play larger roles as the series goes on, much to the benefit of the show as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13914602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/nup_196715_00787r_custom-d6546e4c2265434920db531f4a9d8799fe85ce45-800x613.jpg\" alt=\"A young man with tousled hair stands boldly. He is wearing dark eye make-up, red lipstick and comedically large purple boxing gloves bound at the wrists with yellow chains.\" width=\"800\" height=\"613\">\u003cfigcaption class=\"wp-caption-text\">Fin Argus as Mingus. \u003ccite>(Alyssa Moran/Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>QaF\u003c/em> ’22 feels most new and intriguing whenever it devotes screentime to Graise and O’Connell’s characters, because it gives them room to emerge as people who are both living with disability \u003cem>and \u003c/em>horny as hell.\u003c/p>\n\u003cp>Something else starts happening a few episodes in, which didn’t happen a lot on the old series. Characters get called on their thoughtlessness. Grudges are held, resentments fester, and ultimately explode. The world around these characters starts to grow more complicated.\u003c/p>\n\u003cp>At Ruthie and Shar’s baby shower, Brodie makes a smug speech skewering his fellow attendees’ performative allyship, and Shar cuts him down. The series is saying here that two things can be simultaneously true: Brodie’s got a point … \u003cem>and \u003c/em>he’s a jerk.\u003c/p>\n\u003cp>[aside postid='arts_13907908']Mingus, traumatized by the club shooting, impulsively donates all of their drag. Later, when they see Bussey sporting some of it at a bar, they drunkenly demand it back, only to be rightly reprimanded for their preening sense of entitlement. Mingus is both going through something real … \u003cem>and \u003c/em>is a privileged, whiny punk.\u003c/p>\n\u003cp>At one point Ruthie gets a monologue about how the process of transitioning intersected, in complicated ways, with her feelings of sexual attractiveness, and it’s a quiet, truthful, revelatory moment that Keitel sells the hell out of. But she’s \u003cem>also \u003c/em>using the speech to avoid having to come to terms with the night of the shooting. One fact does not undercut the other; both resonate.\u003c/p>\n\u003cp>Similarly, the series is only too aware of how easily public tragedies can be mined for private gain. The series’ most stealthily hilarious performance is provided by Benito Skinner, whose social media influencer gloms onto the club shooting and becomes the self-appointed public face of the tragedy; his character’s the source of some of the series’ smartest, most ruthless comedy.\u003c/p>\n\u003cp>It does take all of these nuances, and others, some time to manifest, and along the way the series’ tone shifts wildly from scene to scene, sometimes even line to line. It’s messy. But ultimately the new \u003cem>Queer as Folk\u003c/em>, by telling a wider and more disparate set of stories, manages to produce a narrative that’s broader and deeper—and significantly queerer—than its predecessors.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queer+As+Folk%27+gets+a+stiletto-heeled+reboot+that+takes+time+to+feel+comfortable&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>5. A fusillade of queer pop-culture references that serve as a series of dog-whistles to reassure queer audiences that they’re represented in the show’s writers room.\u003c/p>\n\u003cp>Which is to say, both the original U.K. and U.S. series were sexy, sometimes funny, sometimes moving, but deeply flawed projects. And while they are to be commended for storytelling that was always less concerned with chasing mainstream straight acceptance than the \u003cem>Will and Grace\u003c/em>-s of the world, both told their stories from a narrow and familiar point of view that centered the travails of the young, white, cis gay man with a gym membership.\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/PL-fFiKGTTY'\n title='//www.youtube.com/embed/PL-fFiKGTTY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The new \u003cem>Queer as Folk\u003c/em> has broadened the palette, which means it can tell stories and give voice to characters the old series never could or did. Even so, many of the old flaws persist: The characters are selfish and hopelessly enamored of themselves. Dialogue veers from an affronted lecture about intersectionality to a really solid joke about poppers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What’s new, besides the series’ matter-of-fact diversity, is how much the show’s creators have clearly thought about depicting its range of characters and situations, and giving them real reasons to meaningfully co-exist within the same social circle. The queer community’s tendency to build and police strict silos based on race, age, body type, gender, income and disability was not something the old homogenous \u003cem>Queer as Folk \u003c/em>series felt they needed to address, and largely didn’t.\u003c/p>\n\u003cp>But the new \u003cem>Queer as Folk\u003c/em> eagerly embraces the challenge of creating a diverse network of characters not merely for the sake of doing so, but as a means to let them meaningfully interact and delineate themselves, to variously clash and come together until they emerge as fuller, more rounded people in the eyes of the viewer.\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/kq2ShKuPD2o'\n title='//www.youtube.com/embed/kq2ShKuPD2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some relationships are simple enough to diagram. Brodie (Devin Way) is a young hot gay man who returns to New Orleans after dropping out of med school, to the dismay of his adoptive parents, played by Ed Begley Jr. and, because the universe is beneficent, Kim Cattrall. Brodie is best friends with Ruthie (Jesse James Keitel), a trans woman who’s married to Shar (CG), a non-binary person who’s pregnant with twins. In the pilot, Brodie selfishly urges Ruthie to join him for a night out, which she does, selfishly. (You perhaps begin to detect a theme, here.)\u003c/p>\n\u003cp>There’s also Noah (Johnny Sibily), Brodie’s ex, who’s hiding the fact that he’s been hooking up with Daddius (Chris Renfro) for reasons that soon become clear. There’s Mingus (Fin Argus), one of Ruthie’s high school students who’s taking their first steps into embracing drag. And there’s Julian (Ryan O’Connell), Brodie’s sardonically nerdy younger brother who was born with cerebral palsy.\u003c/p>\n\u003cp>Had the series contented itself with this clutch of characters, it could have churned through soapy plot turns—betrayals, breakups, revelations, etc.—in the desultory way the old \u003cem>QaFs\u003c/em> did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But creator Stephen Dunn introduces a controversial element in the pilot—a mass shooting in a gay club frequented by many of the above characters, not all of whom survive.\u003c/p>\n\u003cp>Were this event used simply to dramatize the threat faced by the queer community, it might come off as tasteless and a bit ham-fisted, maybe even exploitive. But the series quickly becomes about the reverberations of that traumatic event, and how it causes the various characters to spin out in a number of different ways.\u003c/p>\n\u003cp>And by involving the violation of a queer public space in the narrative, the series finds a way to neatly incorporate the viewpoints of characters outside of the already-established friend group—club patrons like the drag queen Bussey (Armand Fields) and Marvin (Eric Graise), a guarded, reflexively jaded young man who uses a wheelchair. Both characters play larger roles as the series goes on, much to the benefit of the show as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13914602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/nup_196715_00787r_custom-d6546e4c2265434920db531f4a9d8799fe85ce45-800x613.jpg\" alt=\"A young man with tousled hair stands boldly. He is wearing dark eye make-up, red lipstick and comedically large purple boxing gloves bound at the wrists with yellow chains.\" width=\"800\" height=\"613\">\u003cfigcaption class=\"wp-caption-text\">Fin Argus as Mingus. \u003ccite>(Alyssa Moran/Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>QaF\u003c/em> ’22 feels most new and intriguing whenever it devotes screentime to Graise and O’Connell’s characters, because it gives them room to emerge as people who are both living with disability \u003cem>and \u003c/em>horny as hell.\u003c/p>\n\u003cp>Something else starts happening a few episodes in, which didn’t happen a lot on the old series. Characters get called on their thoughtlessness. Grudges are held, resentments fester, and ultimately explode. The world around these characters starts to grow more complicated.\u003c/p>\n\u003cp>At Ruthie and Shar’s baby shower, Brodie makes a smug speech skewering his fellow attendees’ performative allyship, and Shar cuts him down. The series is saying here that two things can be simultaneously true: Brodie’s got a point … \u003cem>and \u003c/em>he’s a jerk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mingus, traumatized by the club shooting, impulsively donates all of their drag. Later, when they see Bussey sporting some of it at a bar, they drunkenly demand it back, only to be rightly reprimanded for their preening sense of entitlement. Mingus is both going through something real … \u003cem>and \u003c/em>is a privileged, whiny punk.\u003c/p>\n\u003cp>At one point Ruthie gets a monologue about how the process of transitioning intersected, in complicated ways, with her feelings of sexual attractiveness, and it’s a quiet, truthful, revelatory moment that Keitel sells the hell out of. But she’s \u003cem>also \u003c/em>using the speech to avoid having to come to terms with the night of the shooting. One fact does not undercut the other; both resonate.\u003c/p>\n\u003cp>Similarly, the series is only too aware of how easily public tragedies can be mined for private gain. The series’ most stealthily hilarious performance is provided by Benito Skinner, whose social media influencer gloms onto the club shooting and becomes the self-appointed public face of the tragedy; his character’s the source of some of the series’ smartest, most ruthless comedy.\u003c/p>\n\u003cp>It does take all of these nuances, and others, some time to manifest, and along the way the series’ tone shifts wildly from scene to scene, sometimes even line to line. It’s messy. But ultimately the new \u003cem>Queer as Folk\u003c/em>, by telling a wider and more disparate set of stories, manages to produce a narrative that’s broader and deeper—and significantly queerer—than its predecessors.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queer+As+Folk%27+gets+a+stiletto-heeled+reboot+that+takes+time+to+feel+comfortable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 Books That Try to Explain the Unexplainable: the U.S. Gun Violence Epidemic",
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"content": "\u003cp>As of May 31, there have already been \u003ca href=\"https://www.gunviolencearchive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">233 mass shootings in 2022\u003c/a>, according to the Gun Violence Archive, an independent organization that collects data from over 7,500 sources. That includes \u003ca href=\"https://www.npr.org/series/1101183663/uvalde-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">the massacre at Robb Elementary School\u003c/a> in Uvalde, Texas, which killed 19 children and two adults and injured many others.\u003c/p>\n\u003cp>[aside postid='arts_13913932']More than 45,000 people in the U.S. were killed by guns in 2020, \u003ca href=\"https://wonder.cdc.gov/controller/datarequest/D76;jsessionid=EE19ACC48655F2DC04EA2EC2EBE3\" target=\"_blank\" rel=\"noopener noreferrer\">the Centers for Disease Control reported recently\u003c/a>. That year, firearms became the \u003ca href=\"https://www.axios.com/2022/05/26/gun-deaths-children-america\" target=\"_blank\" rel=\"noopener noreferrer\">leading cause of death\u003c/a> for American children. On average, gun violence kills nine children every day.\u003c/p>\n\u003cp>While these statistics are startling, they can dull the senses, at the same time that solutions seem increasingly hard to come by. Here are five books that help us go beyond the numbers: telling the stories of victims of American gun violence, and explaining how we got here and how we might get out.\u003c/p>\n\u003ch3>\u003cem>Another Day in the Death Of America: A Chronicle of Ten Short Lives\u003c/em> by Gary Younge\u003c/h3>\n\u003cfigure id=\"attachment_13914551\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Another Day in the Death of America: A Chronicle of Ten Short Lives’ By Gary Younge. \u003ccite>(PublicAffairs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tyler, 11, loved catching fish in the creek behind his house . He was accidentally shot by his best friend during a sleepover. Gary Anderson was an 18-year-old who loved to fix things—especially bikes. He was killed while walking to his mother’s apartment, in what his father says was a case of mistaken identity. The baseball coaches for his team all called 9-year-old Jaiden “Smiley.” He was murdered by his mom’s ex-boyfriend.\u003c/p>\n\u003cp>\u003cem>Another Day in the Death of America \u003c/em>documents the lives and deaths of 10 boys—ages 9 to 19—killed by guns over the course of a single day: Nov. 23, 2013. The randomly chosen date reflects \u003ca href=\"https://www.childrensdefense.org/state-of-americas-children/soac-2021-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">troubling statistics\u003c/a> of American life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But these children aren’t just data points. With meticulous research, interviews with family members, and reports of gun violence around the country, Younge pieces together devastating memorials for each of the victims as he explains the circumstances that lead to their deaths.\u003c/p>\n\u003ch3>\u003cem>From a Taller Tower: The Rise of the American Mass Shooter \u003c/em>by Seamus McGraw\u003c/h3>\n\u003cp>In 1966, after murdering his wife and his mother, a student climbed a tower at the University of Texas and began firing. In the end, he killed 17 people. At the time, it was the deadliest mass shooting in modern United States history. Now, it’s the 10th.\u003c/p>\n\u003cp>\u003cem>From a Taller Tower \u003c/em>traces the history of the American mass shooter—at Columbine, Sandy Hook, Parkland—without giving in to the notoriety that so many of them seek. With few exceptions, the murderers are never named. Instead, the book examines the beliefs many Americans hold onto about guns, mass shootings and mental illness, and confronts the circumstances that allow these catastrophes to continue.\u003c/p>\n\u003ch3>\u003cem>Glimmer of Hope: How Tragedy Sparked a Movement\u003c/em> by The March for Our Lives Founders\u003c/h3>\n\u003cfigure id=\"attachment_13914553\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Glimmer of Hope: How Tragedy Sparked a Movement’ By The March for Our Lives Founders. \u003ccite>(Penguin Young Readers Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the wake of one of the United States’ deadliest school shootings, students from Marjory Stoneman Douglas High School in Parkland, Fla., organized. Now, the March for Our Lives movement and nonprofit are working to end gun violence through civic engagement, education and direct action.\u003c/p>\n\u003cp>This anthology chronicles the stories of 25 student founders through poetry, personal essays, conversations and excerpts from speeches. It details the fear they felt on Feb. 14, 2018, the countless hours required to make a movement successful, and the trauma that continues to impact survivors long after the news cameras have moved on. While it can be easy to forget how young these activists are, this look into their extraordinary work is also a reminder that they should never have needed to take on this work in the first place.\u003c/p>\n\u003cp>All net proceeds from the book go to the March For Our Lives Action Fund.\u003c/p>\n\u003ch3>\u003cem>Misfire: Inside the Downfall of the NRA\u003c/em> by Tim Mak\u003c/h3>\n\u003cp>With confidential files, depositions and over 100 interviews with NRA staff and associates, \u003ca href=\"https://www.npr.org/2021/11/02/1051363337/misfire-takes-a-hard-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">NPR investigative correspondent Tim Mak\u003c/a> chronicles the \u003ca href=\"https://www.npr.org/2021/11/01/1050432834/misfire-is-a-scathing-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">incompetence, corruption and wanton embezzlement\u003c/a> that has marked Wayne LaPierre’s (continued) oversight of the organization, and outlines how the NRA went from teaching marksmanship to sabotaging bipartisan legislation supporting background checks after the Sandy Hook massacre.\u003c/p>\n\u003ch3>\u003cem>Stand Your Ground: A History Of America’s Love Affair With Lethal Self-Defense\u003c/em> by Caroline Light\u003c/h3>\n\u003cfigure id=\"attachment_13914555\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Stand Your Ground: A History of America’s Love Affair With Lethal Self-Defense’ By Caroline Light. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With keen legal analysis, Caroline Light examines the history of violence rooted in stand-your-ground laws and the ideology of “DIY-security” citizenship in the United States from the 17th century to today. Despite the theoretical right of any American to stand their ground, Light argues that, in practice, these laws are rooted in the need to protect white men’s honor.\u003c/p>\n\u003cp>Looking at influential court cases and crucial moments in America’s history, she shows how, time and time again, these laws fail to protect women, the poor, gender-nonconforming people and racial minority groups—and frequently targets them when they do try and stand their ground.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A sobering read, Light illuminates how America’s debates about gun control are deeply rooted in the inequality that has marked our country’s history.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+that+try+to+help+explain+the+unexplainable%3A+the+U.S.+gun+violence+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As of May 31, there have already been \u003ca href=\"https://www.gunviolencearchive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">233 mass shootings in 2022\u003c/a>, according to the Gun Violence Archive, an independent organization that collects data from over 7,500 sources. That includes \u003ca href=\"https://www.npr.org/series/1101183663/uvalde-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">the massacre at Robb Elementary School\u003c/a> in Uvalde, Texas, which killed 19 children and two adults and injured many others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than 45,000 people in the U.S. were killed by guns in 2020, \u003ca href=\"https://wonder.cdc.gov/controller/datarequest/D76;jsessionid=EE19ACC48655F2DC04EA2EC2EBE3\" target=\"_blank\" rel=\"noopener noreferrer\">the Centers for Disease Control reported recently\u003c/a>. That year, firearms became the \u003ca href=\"https://www.axios.com/2022/05/26/gun-deaths-children-america\" target=\"_blank\" rel=\"noopener noreferrer\">leading cause of death\u003c/a> for American children. On average, gun violence kills nine children every day.\u003c/p>\n\u003cp>While these statistics are startling, they can dull the senses, at the same time that solutions seem increasingly hard to come by. Here are five books that help us go beyond the numbers: telling the stories of victims of American gun violence, and explaining how we got here and how we might get out.\u003c/p>\n\u003ch3>\u003cem>Another Day in the Death Of America: A Chronicle of Ten Short Lives\u003c/em> by Gary Younge\u003c/h3>\n\u003cfigure id=\"attachment_13914551\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Another Day in the Death of America: A Chronicle of Ten Short Lives’ By Gary Younge. \u003ccite>(PublicAffairs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tyler, 11, loved catching fish in the creek behind his house . He was accidentally shot by his best friend during a sleepover. Gary Anderson was an 18-year-old who loved to fix things—especially bikes. He was killed while walking to his mother’s apartment, in what his father says was a case of mistaken identity. The baseball coaches for his team all called 9-year-old Jaiden “Smiley.” He was murdered by his mom’s ex-boyfriend.\u003c/p>\n\u003cp>\u003cem>Another Day in the Death of America \u003c/em>documents the lives and deaths of 10 boys—ages 9 to 19—killed by guns over the course of a single day: Nov. 23, 2013. The randomly chosen date reflects \u003ca href=\"https://www.childrensdefense.org/state-of-americas-children/soac-2021-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">troubling statistics\u003c/a> of American life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But these children aren’t just data points. With meticulous research, interviews with family members, and reports of gun violence around the country, Younge pieces together devastating memorials for each of the victims as he explains the circumstances that lead to their deaths.\u003c/p>\n\u003ch3>\u003cem>From a Taller Tower: The Rise of the American Mass Shooter \u003c/em>by Seamus McGraw\u003c/h3>\n\u003cp>In 1966, after murdering his wife and his mother, a student climbed a tower at the University of Texas and began firing. In the end, he killed 17 people. At the time, it was the deadliest mass shooting in modern United States history. Now, it’s the 10th.\u003c/p>\n\u003cp>\u003cem>From a Taller Tower \u003c/em>traces the history of the American mass shooter—at Columbine, Sandy Hook, Parkland—without giving in to the notoriety that so many of them seek. With few exceptions, the murderers are never named. Instead, the book examines the beliefs many Americans hold onto about guns, mass shootings and mental illness, and confronts the circumstances that allow these catastrophes to continue.\u003c/p>\n\u003ch3>\u003cem>Glimmer of Hope: How Tragedy Sparked a Movement\u003c/em> by The March for Our Lives Founders\u003c/h3>\n\u003cfigure id=\"attachment_13914553\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Glimmer of Hope: How Tragedy Sparked a Movement’ By The March for Our Lives Founders. \u003ccite>(Penguin Young Readers Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the wake of one of the United States’ deadliest school shootings, students from Marjory Stoneman Douglas High School in Parkland, Fla., organized. Now, the March for Our Lives movement and nonprofit are working to end gun violence through civic engagement, education and direct action.\u003c/p>\n\u003cp>This anthology chronicles the stories of 25 student founders through poetry, personal essays, conversations and excerpts from speeches. It details the fear they felt on Feb. 14, 2018, the countless hours required to make a movement successful, and the trauma that continues to impact survivors long after the news cameras have moved on. While it can be easy to forget how young these activists are, this look into their extraordinary work is also a reminder that they should never have needed to take on this work in the first place.\u003c/p>\n\u003cp>All net proceeds from the book go to the March For Our Lives Action Fund.\u003c/p>\n\u003ch3>\u003cem>Misfire: Inside the Downfall of the NRA\u003c/em> by Tim Mak\u003c/h3>\n\u003cp>With confidential files, depositions and over 100 interviews with NRA staff and associates, \u003ca href=\"https://www.npr.org/2021/11/02/1051363337/misfire-takes-a-hard-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">NPR investigative correspondent Tim Mak\u003c/a> chronicles the \u003ca href=\"https://www.npr.org/2021/11/01/1050432834/misfire-is-a-scathing-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">incompetence, corruption and wanton embezzlement\u003c/a> that has marked Wayne LaPierre’s (continued) oversight of the organization, and outlines how the NRA went from teaching marksmanship to sabotaging bipartisan legislation supporting background checks after the Sandy Hook massacre.\u003c/p>\n\u003ch3>\u003cem>Stand Your Ground: A History Of America’s Love Affair With Lethal Self-Defense\u003c/em> by Caroline Light\u003c/h3>\n\u003cfigure id=\"attachment_13914555\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Stand Your Ground: A History of America’s Love Affair With Lethal Self-Defense’ By Caroline Light. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With keen legal analysis, Caroline Light examines the history of violence rooted in stand-your-ground laws and the ideology of “DIY-security” citizenship in the United States from the 17th century to today. Despite the theoretical right of any American to stand their ground, Light argues that, in practice, these laws are rooted in the need to protect white men’s honor.\u003c/p>\n\u003cp>Looking at influential court cases and crucial moments in America’s history, she shows how, time and time again, these laws fail to protect women, the poor, gender-nonconforming people and racial minority groups—and frequently targets them when they do try and stand their ground.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A sobering read, Light illuminates how America’s debates about gun control are deeply rooted in the inequality that has marked our country’s history.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+that+try+to+help+explain+the+unexplainable%3A+the+U.S.+gun+violence+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Near the end of her incandescent 1976 memoir, \u003cem>The Woman Warrior\u003c/em>, Maxine Hong Kingston tells the story of a knot-maker in China who tied a knot so complicated that it made him blind. In response, the emperor outlawed the knot. “If I had lived in China,” Kingston tells us, “I would have been an outlaw knot-maker.”\u003c/p>\n\u003cp>[aside postid='arts_13880960']Instead, she put her defiant love of complication into knotty books that tie together biography, history, myth, movies and fiction to show us an America that is too often overlooked. Born to Chinese immigrants who ran a laundromat in Stockton, the 81-year-old Kingston is at once an Asian American writer, a feminist storyteller, a chronicler of immigrant experience and a literary innovator. One of those rare figures who shifted American culture, and who keeps on being relevant, she belongs on the same shelf as \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129281259\" target=\"_blank\" rel=\"noopener noreferrer\">James Baldwin\u003c/a>, \u003ca href=\"https://www.npr.org/2011/11/02/141808816/joan-didion-crafting-an-elegy-for-her-daughter\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Didion\u003c/a> and \u003ca href=\"https://www.npr.org/2011/05/31/136823289/kurt-vonnegut-still-speaking-to-the-war-weary\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Vonnegut\u003c/a>.\u003c/p>\n\u003cp>She’s now been placed alongside them in the prestigious Library of America, which has just released a volume that collects, among other great things, her three most famous works: \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11163242\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman Warrior\u003c/em>\u003c/a>, \u003cem>China Men\u003c/em> and \u003cem>Tripmaster Monkey: His Fake Book\u003c/em>. She tells stories about creating your own identity, not settling for the one the world tries to give you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914502 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1020x1488.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1053x1536.png 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This was clear from her first book, \u003cem>The Woman Warrior: Memoirs of a Girlhood Among Ghosts\u003c/em>, which begins with one of the killer opening lines in American literature: “‘You must not tell anyone,’ my mother said, ‘what I’m about to tell you.'” Naturally, the narrator \u003cem>does\u003c/em> tell us. We learn that Maxine’s father had a sister who got pregnant out of wedlock, killed herself and her baby in disgrace, and her whole family simply pretended she never existed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In telling this story she’s not supposed to tell us, Kingston underscores a cruel truth about traditional Chinese culture—its oppression of women. She also asserts her right, as an act of self-liberation, to scrutinize her mother’s dictates, the ghosts that haunt the Chinese past, and the American values that surround her.\u003c/p>\n\u003cp>Kingston continued that search for freedom in her more expansive and angrier second book, \u003cem>China Men\u003c/em>, which focuses on the experience of the Chinese men who came to the U.S. in search of prosperity only to encounter a racism as ghastly as the misogyny highlighted in \u003cem>The Woman Warrior\u003c/em>.\u003c/p>\n\u003cp>Unlike most writers who tackle such volatile material, Kingston never simplifies. She offers no tear-jerking melodrama, no sentimental clichés about immigrants, no grind-you-down realism. Too original for that, she offers her personal version of storytelling—what the Chinese call “talk-story.” She explores the ideas of “Chineseness” and “Americanness” by weaving together far-ranging elements, be it an indelible evocation of her family’s laundry, a haunting, movie-laced reverie on her brother heading off to Vietnam, or the inspirational myth of the woman warrior Mulan, whose now-Hollywoodized story first became well known in the West because Kingston wrote about it.\u003c/p>\n\u003cp>[aside postid='arts_13902268']Writing as she damn well pleased, she followed these first two brilliant books with a novel, \u003cem>Tripmaster Monkey\u003c/em>, which is probably \u003cem>too\u003c/em> brilliant. Set in a marvelously evoked early-’60s Bay Area, the book focuses on Wittman Ah Sing, a writer seeking to cook up a workable Chinese American identity from a postmodern salad of influences, tossing together the Beats, the poet Rilke, Hollywood movies, the Chinese epic \u003cem>Journey to the West\u003c/em>, and countless other things. While it proved too hip for the room of 1989 America, \u003cem>Tripmaster Monkey\u003c/em> crackles with an ambition and brio that’s still dazzling.\u003c/p>\n\u003cp>Although Kingston had her detractors, her transgressive willingness to go for broke made her a pioneering inspiration for the scads of wonderful writers who began mapping the territory she first opened. You can find her footprints in, among others, \u003ca href=\"https://www.npr.org/2017/10/17/558295524/-i-am-full-of-contradictions-novelist-amy-tan-on-fate-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Tan\u003c/a>‘s \u003cem>The Joy Luck Club\u003c/em>, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=90111248\" target=\"_blank\" rel=\"noopener noreferrer\">Junot Diaz\u003c/a>‘s \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em>, \u003ca href=\"https://www.npr.org/2020/01/25/799340952/interior-chinatown-puts-that-guy-in-the-background-front-and-center\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Yu\u003c/a>‘s \u003cem>Interior Chinatown\u003c/em> and \u003cem>The Sympathizer, \u003c/em>by \u003ca href=\"https://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Thanh Nguyen\u003c/a>, who edited this collection.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She opened up new territory for readers like me, too. Re-reading these books today, I’ve been struck by how much of what I now think of as conventional wisdom became so because of her unconventional work. In a way, Maxine Hong Kingston truly is an outlaw knot-maker, but her work doesn’t make anyone go blind—it helps us to see.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Maxine+Hong+Kingston%27s+work+is+as+wondrous+and+alive+as+ever+in+this+collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near the end of her incandescent 1976 memoir, \u003cem>The Woman Warrior\u003c/em>, Maxine Hong Kingston tells the story of a knot-maker in China who tied a knot so complicated that it made him blind. In response, the emperor outlawed the knot. “If I had lived in China,” Kingston tells us, “I would have been an outlaw knot-maker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, she put her defiant love of complication into knotty books that tie together biography, history, myth, movies and fiction to show us an America that is too often overlooked. Born to Chinese immigrants who ran a laundromat in Stockton, the 81-year-old Kingston is at once an Asian American writer, a feminist storyteller, a chronicler of immigrant experience and a literary innovator. One of those rare figures who shifted American culture, and who keeps on being relevant, she belongs on the same shelf as \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129281259\" target=\"_blank\" rel=\"noopener noreferrer\">James Baldwin\u003c/a>, \u003ca href=\"https://www.npr.org/2011/11/02/141808816/joan-didion-crafting-an-elegy-for-her-daughter\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Didion\u003c/a> and \u003ca href=\"https://www.npr.org/2011/05/31/136823289/kurt-vonnegut-still-speaking-to-the-war-weary\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Vonnegut\u003c/a>.\u003c/p>\n\u003cp>She’s now been placed alongside them in the prestigious Library of America, which has just released a volume that collects, among other great things, her three most famous works: \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11163242\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman Warrior\u003c/em>\u003c/a>, \u003cem>China Men\u003c/em> and \u003cem>Tripmaster Monkey: His Fake Book\u003c/em>. She tells stories about creating your own identity, not settling for the one the world tries to give you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914502 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1020x1488.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1053x1536.png 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This was clear from her first book, \u003cem>The Woman Warrior: Memoirs of a Girlhood Among Ghosts\u003c/em>, which begins with one of the killer opening lines in American literature: “‘You must not tell anyone,’ my mother said, ‘what I’m about to tell you.'” Naturally, the narrator \u003cem>does\u003c/em> tell us. We learn that Maxine’s father had a sister who got pregnant out of wedlock, killed herself and her baby in disgrace, and her whole family simply pretended she never existed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In telling this story she’s not supposed to tell us, Kingston underscores a cruel truth about traditional Chinese culture—its oppression of women. She also asserts her right, as an act of self-liberation, to scrutinize her mother’s dictates, the ghosts that haunt the Chinese past, and the American values that surround her.\u003c/p>\n\u003cp>Kingston continued that search for freedom in her more expansive and angrier second book, \u003cem>China Men\u003c/em>, which focuses on the experience of the Chinese men who came to the U.S. in search of prosperity only to encounter a racism as ghastly as the misogyny highlighted in \u003cem>The Woman Warrior\u003c/em>.\u003c/p>\n\u003cp>Unlike most writers who tackle such volatile material, Kingston never simplifies. She offers no tear-jerking melodrama, no sentimental clichés about immigrants, no grind-you-down realism. Too original for that, she offers her personal version of storytelling—what the Chinese call “talk-story.” She explores the ideas of “Chineseness” and “Americanness” by weaving together far-ranging elements, be it an indelible evocation of her family’s laundry, a haunting, movie-laced reverie on her brother heading off to Vietnam, or the inspirational myth of the woman warrior Mulan, whose now-Hollywoodized story first became well known in the West because Kingston wrote about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Writing as she damn well pleased, she followed these first two brilliant books with a novel, \u003cem>Tripmaster Monkey\u003c/em>, which is probably \u003cem>too\u003c/em> brilliant. Set in a marvelously evoked early-’60s Bay Area, the book focuses on Wittman Ah Sing, a writer seeking to cook up a workable Chinese American identity from a postmodern salad of influences, tossing together the Beats, the poet Rilke, Hollywood movies, the Chinese epic \u003cem>Journey to the West\u003c/em>, and countless other things. While it proved too hip for the room of 1989 America, \u003cem>Tripmaster Monkey\u003c/em> crackles with an ambition and brio that’s still dazzling.\u003c/p>\n\u003cp>Although Kingston had her detractors, her transgressive willingness to go for broke made her a pioneering inspiration for the scads of wonderful writers who began mapping the territory she first opened. You can find her footprints in, among others, \u003ca href=\"https://www.npr.org/2017/10/17/558295524/-i-am-full-of-contradictions-novelist-amy-tan-on-fate-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Tan\u003c/a>‘s \u003cem>The Joy Luck Club\u003c/em>, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=90111248\" target=\"_blank\" rel=\"noopener noreferrer\">Junot Diaz\u003c/a>‘s \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em>, \u003ca href=\"https://www.npr.org/2020/01/25/799340952/interior-chinatown-puts-that-guy-in-the-background-front-and-center\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Yu\u003c/a>‘s \u003cem>Interior Chinatown\u003c/em> and \u003cem>The Sympathizer, \u003c/em>by \u003ca href=\"https://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Thanh Nguyen\u003c/a>, who edited this collection.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She opened up new territory for readers like me, too. Re-reading these books today, I’ve been struck by how much of what I now think of as conventional wisdom became so because of her unconventional work. In a way, Maxine Hong Kingston truly is an outlaw knot-maker, but her work doesn’t make anyone go blind—it helps us to see.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Maxine+Hong+Kingston%27s+work+is+as+wondrous+and+alive+as+ever+in+this+collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
