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"content": "\u003cp>Colleen Hoover’s bestselling novel \u003cem>It Ends With Us\u003c/em> has been adapted into a star-studded film, starring Blake Lively and Justin Baldoni. But the much-talked-about film is facing criticism for appearing to glamorize its depiction of domestic abuse.\u003c/p>\n\u003cp>The film, which draws from Hoover’s own parents’ relationship, tells the story of florist Lily Bloom, who falls in love with a neurosurgeon named Ryle Kincaid.\u003c/p>\n\u003cp>[aside postid='arts_13962898']During their courtship, Kincaid goes from charming and charismatic to physically and emotionally abusive. Bloom eventually ends the relationship, telling her daughter that the cycle of violence “ends with us,” reflecting the film’s title.\u003c/p>\n\u003cp>Based on promotional materials for the film, however, some critics say the message about abuse might not come across to viewers.\u003c/p>\n\u003cp>“The trailer does a disservice to the fact that this could really raise awareness,” said activist and domestic violence survivor Ashley Bendiksen. “But it seems to just be glossing over what the movie’s actually about.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one trailer — set to the song “Strangers” by Ethel Cain, which includes the lyrics “don’t talk to strangers or you might fall in love” — the movie seems to hit all the right notes of a typical romance movie.\u003c/p>\n\u003cp>Viewers see the two main characters — played by Lively and Baldoni — launch into a romantic relationship. You’re teased with the potential of a love triangle, down to a fistfight between the two male suitors. And there’s a brief bout of rage from Kincaid as he breaks a piece of furniture in his apartment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DLET_u31M4M\u003c/p>\n\u003cp>But the full story is much darker. The abuse Bloom suffers at the hands of Kincaid in the film includes being pushed down a flight of stairs and attempted rape.\u003c/p>\n\u003cp>“When we use trauma as entertainment, it can feel really exploitative, and just irresponsible, and, in many ways, tone-deaf to the actual issue,” Bendiksen said.\u003c/p>\n\u003ch3>Fan blowback\u003c/h3>\n\u003cp>The film, which was released on Aug. 9, has \u003ca href=\"https://people.com/it-ends-with-us-blake-lively-highest-grossing-movie-8701237\">earned\u003c/a> a respectable $242 million worldwide. But despite its success at the box office, criticisms have been scathing.\u003c/p>\n\u003cp>[aside postid='arts_13963339']In one promotional video \u003ca href=\"https://www.instagram.com/itendswithusmovie/reel/C-dIFmsPeWH/\">posted on Instagram\u003c/a>, a smiling Lively sits alongside the novel’s author, Hoover, and encourages the audience to “grab your friends, wear your florals and head out to see it.” Florals in this context are a reference to her character, Bloom, owning a flower shop in the film.\u003c/p>\n\u003cp>Comments on the video criticized Lively’s upbeat tone and attempts to promote the movie as a lighthearted love story.\u003c/p>\n\u003cp>“As someone who lived through DV as a child, ‘grab your friends, wear your florals’ is a terrible phrase to use about a film of this nature,” one commenter wrote.\u003c/p>\n\u003cp>“You had an opportunity to turn this into a beautiful thing for women who suffer every day. Shame on you and your PR team for turning a blind eye,” another said.\u003c/p>\n\u003cp>Many of the comments praised Baldoni, however, for his style in promoting the story.\u003c/p>\n\u003cp>In one interview posted to the star’s \u003ca href=\"https://www.instagram.com/p/C-dnb8gPWSH/\">Instagram page\u003c/a>, Baldoni says his message for viewers is to always have hope.\u003c/p>\n\u003cp>“Everybody has the ability to end a cycle that they didn’t ask for. We can all say, ‘It ends with us’ in our life,” Baldoni said.\u003c/p>\n\u003cp>Baldoni directed the film, and Lively is one of its producers.\u003c/p>\n\u003cp>“Thank you so much for being the ONLY person on this cast promoting the actual point of this film,” one commenter wrote in response.\u003c/p>\n\u003cp>“It’s funny to me how the person that is portraying the offender is the only one making the point of the actual story.”\u003c/p>\n\u003cp>[aside postid='arts_13937951']Brandon Sklenar, who plays Baldoni’s romantic rival in the film, said that he and his fellow cast-mates understood the gravity of telling a story about domestic abuse.\u003c/p>\n\u003cp>“Trust me when I tell you, there isn’t a single person involved in the making of this film that was not aware of the responsibility we had in making this. A responsibility to all the women who have experienced generational trauma — domestic abuse — or struggle with looking in the mirror and loving who they see,” Sklenar wrote in a \u003ca href=\"https://www.instagram.com/p/C-5nF_IJr73/\">lengthy statement\u003c/a> posted to his Instagram account.\u003c/p>\n\u003cp>“This movie is a harsh reality check for the men who need to get their sh-t together and take responsibility for themselves and their actions.”\u003c/p>\n\u003cp>Comments on the statement were turned off, but comments on unrelated posts took the cast to task over the way the film was being promoted.\u003c/p>\n\u003cp>“Your most recent post is just perpetuating how TONE DEAF this whole cast is (besides Justin). We don’t want to hear you all defend each other. How about apologize and change the way you’re all promoting the movie and talk about the issue — [domestic violence],” wrote one frustrated commenter.\u003c/p>\n\u003cp>Hoover, in a separate interview with Lively, said she felt that the film had been “faithful” to the story she wrote.\u003c/p>\n\u003ch3>“Trigger warning”\u003c/h3>\n\u003cp>Obbie West, a spoken-word artist and advocate for victims of domestic abuse, said that the framing of the film could wind up being triggering for abuse victims.\u003c/p>\n\u003cp>[aside postid='arts_13962885']“Prior to presentations or prior to trainings, I give trigger warnings, and the trigger warning lets anyone in the room know that this content is going to be very sensitive in nature. That way, if any of it aligns with something they’ve been through and they feel triggered, we identify who are the people in the room that’s qualified to help you,” West said.\u003c/p>\n\u003cp>Trailers for the film do not include any sort of trigger warnings for content.\u003c/p>\n\u003cp>“So when you present this movie as a love movie without that precursor, then you have a theater full of people who aren’t aware that they may potentially be triggered.”\u003c/p>\n\u003cp>West said that in framing the movie as a love story, it could be damaging, particularly to young people who don’t have a healthy frame of reference for love and aren’t as easily able to recognize signs of abuse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If this is common practice and we’re constantly presenting love in this way, then for those children who are still developing, it normalizes it and desensitizes them to abuse,” West said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Brandon Sklenar, who plays Baldoni’s romantic rival in the film, said that he and his fellow cast-mates understood the gravity of telling a story about domestic abuse.\u003c/p>\n\u003cp>“Trust me when I tell you, there isn’t a single person involved in the making of this film that was not aware of the responsibility we had in making this. A responsibility to all the women who have experienced generational trauma — domestic abuse — or struggle with looking in the mirror and loving who they see,” Sklenar wrote in a \u003ca href=\"https://www.instagram.com/p/C-5nF_IJr73/\">lengthy statement\u003c/a> posted to his Instagram account.\u003c/p>\n\u003cp>“This movie is a harsh reality check for the men who need to get their sh-t together and take responsibility for themselves and their actions.”\u003c/p>\n\u003cp>Comments on the statement were turned off, but comments on unrelated posts took the cast to task over the way the film was being promoted.\u003c/p>\n\u003cp>“Your most recent post is just perpetuating how TONE DEAF this whole cast is (besides Justin). We don’t want to hear you all defend each other. How about apologize and change the way you’re all promoting the movie and talk about the issue — [domestic violence],” wrote one frustrated commenter.\u003c/p>\n\u003cp>Hoover, in a separate interview with Lively, said she felt that the film had been “faithful” to the story she wrote.\u003c/p>\n\u003ch3>“Trigger warning”\u003c/h3>\n\u003cp>Obbie West, a spoken-word artist and advocate for victims of domestic abuse, said that the framing of the film could wind up being triggering for abuse victims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Prior to presentations or prior to trainings, I give trigger warnings, and the trigger warning lets anyone in the room know that this content is going to be very sensitive in nature. That way, if any of it aligns with something they’ve been through and they feel triggered, we identify who are the people in the room that’s qualified to help you,” West said.\u003c/p>\n\u003cp>Trailers for the film do not include any sort of trigger warnings for content.\u003c/p>\n\u003cp>“So when you present this movie as a love movie without that precursor, then you have a theater full of people who aren’t aware that they may potentially be triggered.”\u003c/p>\n\u003cp>West said that in framing the movie as a love story, it could be damaging, particularly to young people who don’t have a healthy frame of reference for love and aren’t as easily able to recognize signs of abuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Future Without Involuntary Servitude? In California, It's Long Overdue",
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"content": "\u003cp>[dropcap]T[/dropcap]he idea of prison labor was on my mind as I visited San Quentin last weekend.\u003c/p>\n\u003cp>After going through security, I and two dozen other journalists walked past the lower yard, where men in boxing gloves threw combos at each other and hoopers in grey shorts shot free throws. We spent hours at the prison’s media center watching film clips and listening to podcasts made by folks behind bars, like \u003ca href=\"https://www.earhustlesq.com/?gad_source=1&gclid=Cj0KCQjw2ou2BhCCARIsANAwM2HHbkxlgrsGFB8htH1leiwIFl30CuIge-JTdVTFhvjoUgwPb1pt5bQaAnZTEALw_wcB\" target=\"_blank\" rel=\"noopener\">\u003cem>Ear Hustle\u003c/em>\u003c/a> and \u003ca href=\"https://www.weareuncuffed.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Uncuffed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">And during the lunch break, I asked a few people who are incarcerated about jobs in the prison.\u003c/p>\n\u003cp>One man told me he works in the media center for just 11¢ an hour. Another said he makes 14¢ an hour. Some teachers who lead programs don’t get paid at all. One person said he appreciates the structure employment brings, and noted that no matter how little it pays, any type of program or job is beneficial when it’s time to ask for parole.\u003c/p>\n\u003cp>Some people were happy that\u003ca href=\"https://www.cdcr.ca.gov/regulations/wp-content/uploads/sites/171/2024/04/Inmate-Pay_Approval.pdf\" target=\"_blank\" rel=\"noopener\"> the CDCR raised pay rates for incarcerated laborers in April\u003c/a>, an increase from 32¢-37¢ an hour to 64¢-74¢ an hour. (The cover of July’s print edition of \u003cem>The San Quentin News\u003c/em> had a story about one negative impact of the pay raise: less jobs.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past, I interviewed a woman who repaired the industrial-sized laundry dryers at the California Institution for Women in Chino while incarcerated. While teaching at Vacaville’s California Medical Facility, I met a man who did landscaping in front of the prison’s religious buildings. There’s a meat cutting facility at Mule Creek State Prison, and a poultry processing enterprise at Avenal State Prison.\u003c/p>\n\u003cp>Behind bars in California, people make everything from socks to American flags.\u003c/p>\n\u003cp>There’s plenty of potential occupations for people who are incarcerated. Some jobs are underpaid, and some don’t pay at all. But legally, every able-bodied person is supposed to work. It’s written in the state’s constitution as a form of “involuntary servitude” — or, as many see it: slavery.\u003c/p>\n\u003cp>This fall, if passed by voters, Prop. 6 would amend the state’s constitution to no longer require people who are incarcerated to work. Finally, 160 years after President Lincoln signed the Emancipation Proclamation, we have the opportunity to put an end to a direct remnant of this country’s most inhumane system.\u003c/p>\n\u003cp>How did we get here? Let’s start at the top: the federal government. As you might have learned in history class, \u003ca href=\"https://constitution.congress.gov/browse/essay/amdt13-S1-1/ALDE_00000992/#:~:text=Thirteenth%20Amendment%2C%20Section%201%3A,place%20subject%20to%20their%20jurisdiction.\">the 13th Amendment\u003c/a> ended slavery, right? Well, no.\u003c/p>\n\u003cp>It states:\u003c/p>\n\u003cblockquote>\u003cp>Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.\u003c/p>\u003c/blockquote>\n\u003cp>That exception (“except as punishment for crime”) creates a loophole for states to force people who are incarcerated to work without compensation.\u003c/p>\n\u003cp>The application of this exception varies from state to state. California is \u003ca href=\"https://ballotpedia.org/California_Proposition_6,_Remove_Involuntary_Servitude_as_Punishment_for_Crime_Amendment_(2024)#Support\">one of eight states\u003c/a> where involuntary servitude is still a legal form of punishment for a crime. (There are eight other states where it’s explicitly stated that “slavery,” verbatim, is a legal punishment for a crime.)\u003c/p>\n\u003cp>With \u003ca href=\"https://www.prisonpolicy.org/profiles/CA.html\">nearly 200,000 people behind bars\u003c/a>, California has the most populous incarceration system of all 16 states where this form of punishment is legal. That massive amount of people working for free, or in some cases \u003ca href=\"https://www.kqed.org/news/11983846/state-prisons-offset-new-inmate-wage-hikes-by-cutting-hours-for-some-workers\" target=\"_blank\" rel=\"noopener\">a few cents per hour\u003c/a>, plays a valuable part in the Golden State’s economic system — one that generates the \u003ca href=\"https://www.statista.com/statistics/187834/gdp-of-the-us-federal-state-of-california-since-1997/#:~:text=U.S.%20real%20GDP%20of%20California%202000%2D2023&text=In%202023%2C%20the%20real%20gross,at%203.23%20trillion%20U.S.%20dollars.\">third-highest GDP\u003c/a> in the United States.\u003c/p>\n\u003cp>Now consider that African Americans account for nearly one-third of all incarcerated people, but only 5% of the state’s total population. Do you start to see how slavery, far from being abolished, is actually alive and well?\u003c/p>\n\u003cfigure id=\"attachment_13962659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962659\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13%E2%80%AFAM-800x573.png\" alt=\"Members of Legal Services for Prisoners with Children pose for a photo outside of the California State Capitol Building in Sacramento. \" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1536x1100.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-2048x1466.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1920x1374.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Legal Services for Prisoners with Children pose for a photo in San Diego at the Democratic Executive Board Meeting on the day Rep. Maxine Waters officially supported the bill that is now Prop. 6. \u003ccite>(Courtesy of Dr. Tanisha Cannon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]“W[/dropcap]e’re not just simply trying to change the language,” says Paul Briley, Executive Director of Legal Services for Prisoners with Children, of involuntary servitude. “We want to change the practice.”\u003c/p>\n\u003cp>During a recent video chat, Briley gave me a bit of a history lesson on the roots of the issue in California.\u003c/p>\n\u003cp>It starts with California’s first governor, \u003ca href=\"https://www.npr.org/2020/07/15/891563719/peter-hardeman-burnett-californias-1st-governor-and-a-noted-racist\" target=\"_blank\" rel=\"noopener\">Peter Hardeman Burnett\u003c/a>, a noted racist and slave owner originally from Tennessee. Burnett got into California politics on the tail end of the Gold Rush, after leaving Oregon, where he was also politically involved. While in Oregon, he helped the state legislature establish \u003ca href=\"https://sos.oregon.gov/archives/exhibits/black-history/Pages/context/slavery.aspx#:~:text=The%20Oregon%20Lash%20Law&text=The%20next%20year%2C%20Peter%20Burnett,the%20slaves%20would%20be%20freed.\" target=\"_blank\" rel=\"noopener\">a lash law\u003c/a>, which required people of African descent to leave the state or else face punishment in the form of whippings.\u003c/p>\n\u003cp>“(Burnett) wanted to create a white-only west,” says Briley, adding that Burnett also advocated for California’s \u003ca href=\"https://www.kqed.org/news/11905371/california-celebrates-its-history-as-a-free-state-but-there-was-slavery-here\" target=\"_blank\" rel=\"noopener\">Fugitive Slave Law\u003c/a>, which put Black residents who’d escaped slavery at high risk of being sent back to Southern slave states. The underlying ambition of the law, Briley says, was to keep this new state’s Black population to a minimum.\u003c/p>\n\u003cp>In 1852, the same year California passed its Fugitive Slave Law, the state also established its first mainland prison, San Quentin.\u003c/p>\n\u003cp>“There’s a direct correlation between slavery and mass incarceration,” notes Briley. And so — aiming to abolish not just the language but the practice — “that’s at the core of our mission: dismantling the entire prison industrial complex.”\u003c/p>\n\u003cp>[aside postID='arts_13926813']While the Fugitive Slave Law expired after three years, the state of California’s constitution still allowed for involuntary servitude, which stands to this day.\u003c/p>\n\u003cp>The mere allowance for involuntary servitude isn’t the only issue. The enforcement of involuntary servitude is problematic, too. This is outlined in California Department of Corrections and Rehabilitation’s (CDCR) \u003ca href=\"https://codes.findlaw.com/ca/penal-code/pen-sect-2700/#:~:text=The%20Department%20of%20Corrections%20shall,of%20the%20Director%20of%20Corrections.\" target=\"_blank\" rel=\"noopener\">Penal Code 2700\u003c/a>, which dictates that every able-bodied incarcerated person must work. Whether waylaid by sickness, grief or other serious issues, people behind bars in this state must work or else face \u003ca href=\"https://www.shouselaw.com/ca/blog/cdcr-form-115-discipline-report/\" target=\"_blank\" rel=\"noopener\">a Form 115 discipline report\u003c/a>, a write-up added to their record, potentially resulting in a longer prison sentence.\u003c/p>\n\u003cp>“We’re not only trying to change the constitution, we’re not focused on symbolism,” says Lawrence Cox, during the same video call. Cox is the Regional Advocacy and Organizing Associate with the social justice nonprofit \u003ca href=\"https://prisonerswithchildren.org/about-aouon/\" target=\"_blank\" rel=\"noopener\">All of Us or None\u003c/a>, an organization working “to create an airtight solution that prevents the exploitation of individuals who are incarcerated.”\u003c/p>\n\u003cp>The larger goal, Cox adds, is to separate the prison industrial complex from the rehabilitative apparatus of corrections. Which is significant to the CDCR, as \u003ca href=\"http://www.allgov.com/usa/ca/departments/independent-agencies/department_of_corrections_and_rehabilitation?agencyid=223\" target=\"_blank\" rel=\"noopener\">the organization made it a point to add “rehabilitation” to their title in 2004\u003c/a>.\u003c/p>\n\u003cp>“Rehab is about autonomy,” says Cox, adding that “healing from the traumas that may have caused individuals to commit the crimes that they’ve committed… has nothing to do with forced slavery.”\u003c/p>\n\u003cfigure id=\"attachment_13962773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin State Prison in San Quentin on July 26, 2023. In March, California Governor Gavin Newsom announced that the state would seek to transform the maximum security prison into a center focused on the rehabilitation of incarcerated individuals. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n addition to the lack of choice, the conditions incarcerated people are forced to work under are often perilous. Electricians work with live power lines that feed electricity to prisons, and firefighters work on the dangerous frontlines of wildfires. Much of this work is done with a severe lack of support for workers’ rights.\u003c/p>\n\u003cp>In June, the California Division of Occupational Safety and Health (CAL/OSHA) agreed to \u003ca href=\"https://www.dir.ca.gov/dosh/heatillnessinfo.html\" target=\"_blank\" rel=\"noopener\">new guidelines regarding the rights of indoor workers\u003c/a> at workplaces where temperatures reach 82 degrees or above. It’s an important measure, enacted during a changing climate, when everyone is impacted by increasing temperatures. The problem is: \u003ca href=\"https://www.dir.ca.gov/oshsb/documents/Indoor-Heat-updated-txtbrdconsider.pdf\" target=\"_blank\" rel=\"noopener\">the legislation explicitly excludes people behind bars\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://prisonerswithchildren.org/staff-and-board/\" target=\"_blank\" rel=\"noopener\">Dr. Tanisha Cannon\u003c/a>, Managing Director of Legal Services for Prisoners with Children, believes that the labor done by incarcerated people, unpaid or underpaid, should technically qualify them as state workers. But they don’t receive any benefits or Social Security.\u003c/p>\n\u003cp>“Folks can work in state prison for 20 years,” says Cannon, “and then they get released and come home to $200 gate money.”\u003c/p>\n\u003cp>[aside postID='arts_13962094']Cannon notes that the $200 gate money that the state gives people who’ve been incarcerated hasn’t changed since the 1970s. In Northern California, she adds, $200 covers about a week’s worth of groceries.\u003c/p>\n\u003cp>“If these jobs didn’t exist inside of prisons, (the state would) have to hire more COs and more electricians to run the prison,” says Cannon. “Prisoners are really running the prison system.”\u003c/p>\n\u003cp>And they aren’t getting paid fairly for it.\u003c/p>\n\u003cp>It’s important for everyone to vote, Cannon emphasizes. She wants to be clear that people with felonies, as well as incarcerated people in California, can vote. (\u003ca href=\"https://www.sos.ca.gov/elections/voting-rights-restored\">Registering and obtaining a ballot\u003c/a> is another hurdle.)\u003c/p>\n\u003cp>Given the theatrics of this year’s presidential election, Cannon understands how people can grow disenfranchised with the electoral process. Nevertheless, she and other advocates are still encouraging people to vote, “because there are some things on this ballot that are going to directly impact you and your community,” says Cannon.\u003c/p>\n\u003cp>And when it comes to voting on involuntary servitude and Prop. 6, Cannon says it’s particularly important, considering that the state has extracted wealth from Black communities for hundreds of years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If these same folks that are producing the labor were getting paid,” says Cannon, “this would extract wealth from those larger companies, and reinvest it in our communities.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he idea of prison labor was on my mind as I visited San Quentin last weekend.\u003c/p>\n\u003cp>After going through security, I and two dozen other journalists walked past the lower yard, where men in boxing gloves threw combos at each other and hoopers in grey shorts shot free throws. We spent hours at the prison’s media center watching film clips and listening to podcasts made by folks behind bars, like \u003ca href=\"https://www.earhustlesq.com/?gad_source=1&gclid=Cj0KCQjw2ou2BhCCARIsANAwM2HHbkxlgrsGFB8htH1leiwIFl30CuIge-JTdVTFhvjoUgwPb1pt5bQaAnZTEALw_wcB\" target=\"_blank\" rel=\"noopener\">\u003cem>Ear Hustle\u003c/em>\u003c/a> and \u003ca href=\"https://www.weareuncuffed.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Uncuffed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">And during the lunch break, I asked a few people who are incarcerated about jobs in the prison.\u003c/p>\n\u003cp>One man told me he works in the media center for just 11¢ an hour. Another said he makes 14¢ an hour. Some teachers who lead programs don’t get paid at all. One person said he appreciates the structure employment brings, and noted that no matter how little it pays, any type of program or job is beneficial when it’s time to ask for parole.\u003c/p>\n\u003cp>Some people were happy that\u003ca href=\"https://www.cdcr.ca.gov/regulations/wp-content/uploads/sites/171/2024/04/Inmate-Pay_Approval.pdf\" target=\"_blank\" rel=\"noopener\"> the CDCR raised pay rates for incarcerated laborers in April\u003c/a>, an increase from 32¢-37¢ an hour to 64¢-74¢ an hour. (The cover of July’s print edition of \u003cem>The San Quentin News\u003c/em> had a story about one negative impact of the pay raise: less jobs.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past, I interviewed a woman who repaired the industrial-sized laundry dryers at the California Institution for Women in Chino while incarcerated. While teaching at Vacaville’s California Medical Facility, I met a man who did landscaping in front of the prison’s religious buildings. There’s a meat cutting facility at Mule Creek State Prison, and a poultry processing enterprise at Avenal State Prison.\u003c/p>\n\u003cp>Behind bars in California, people make everything from socks to American flags.\u003c/p>\n\u003cp>There’s plenty of potential occupations for people who are incarcerated. Some jobs are underpaid, and some don’t pay at all. But legally, every able-bodied person is supposed to work. It’s written in the state’s constitution as a form of “involuntary servitude” — or, as many see it: slavery.\u003c/p>\n\u003cp>This fall, if passed by voters, Prop. 6 would amend the state’s constitution to no longer require people who are incarcerated to work. Finally, 160 years after President Lincoln signed the Emancipation Proclamation, we have the opportunity to put an end to a direct remnant of this country’s most inhumane system.\u003c/p>\n\u003cp>How did we get here? Let’s start at the top: the federal government. As you might have learned in history class, \u003ca href=\"https://constitution.congress.gov/browse/essay/amdt13-S1-1/ALDE_00000992/#:~:text=Thirteenth%20Amendment%2C%20Section%201%3A,place%20subject%20to%20their%20jurisdiction.\">the 13th Amendment\u003c/a> ended slavery, right? Well, no.\u003c/p>\n\u003cp>It states:\u003c/p>\n\u003cblockquote>\u003cp>Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.\u003c/p>\u003c/blockquote>\n\u003cp>That exception (“except as punishment for crime”) creates a loophole for states to force people who are incarcerated to work without compensation.\u003c/p>\n\u003cp>The application of this exception varies from state to state. California is \u003ca href=\"https://ballotpedia.org/California_Proposition_6,_Remove_Involuntary_Servitude_as_Punishment_for_Crime_Amendment_(2024)#Support\">one of eight states\u003c/a> where involuntary servitude is still a legal form of punishment for a crime. (There are eight other states where it’s explicitly stated that “slavery,” verbatim, is a legal punishment for a crime.)\u003c/p>\n\u003cp>With \u003ca href=\"https://www.prisonpolicy.org/profiles/CA.html\">nearly 200,000 people behind bars\u003c/a>, California has the most populous incarceration system of all 16 states where this form of punishment is legal. That massive amount of people working for free, or in some cases \u003ca href=\"https://www.kqed.org/news/11983846/state-prisons-offset-new-inmate-wage-hikes-by-cutting-hours-for-some-workers\" target=\"_blank\" rel=\"noopener\">a few cents per hour\u003c/a>, plays a valuable part in the Golden State’s economic system — one that generates the \u003ca href=\"https://www.statista.com/statistics/187834/gdp-of-the-us-federal-state-of-california-since-1997/#:~:text=U.S.%20real%20GDP%20of%20California%202000%2D2023&text=In%202023%2C%20the%20real%20gross,at%203.23%20trillion%20U.S.%20dollars.\">third-highest GDP\u003c/a> in the United States.\u003c/p>\n\u003cp>Now consider that African Americans account for nearly one-third of all incarcerated people, but only 5% of the state’s total population. Do you start to see how slavery, far from being abolished, is actually alive and well?\u003c/p>\n\u003cfigure id=\"attachment_13962659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962659\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13%E2%80%AFAM-800x573.png\" alt=\"Members of Legal Services for Prisoners with Children pose for a photo outside of the California State Capitol Building in Sacramento. \" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1536x1100.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-2048x1466.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-14-at-8.12.13 AM-1920x1374.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Legal Services for Prisoners with Children pose for a photo in San Diego at the Democratic Executive Board Meeting on the day Rep. Maxine Waters officially supported the bill that is now Prop. 6. \u003ccite>(Courtesy of Dr. Tanisha Cannon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“W\u003c/span>\u003c/p>\u003cp>e’re not just simply trying to change the language,” says Paul Briley, Executive Director of Legal Services for Prisoners with Children, of involuntary servitude. “We want to change the practice.”\u003c/p>\n\u003cp>During a recent video chat, Briley gave me a bit of a history lesson on the roots of the issue in California.\u003c/p>\n\u003cp>It starts with California’s first governor, \u003ca href=\"https://www.npr.org/2020/07/15/891563719/peter-hardeman-burnett-californias-1st-governor-and-a-noted-racist\" target=\"_blank\" rel=\"noopener\">Peter Hardeman Burnett\u003c/a>, a noted racist and slave owner originally from Tennessee. Burnett got into California politics on the tail end of the Gold Rush, after leaving Oregon, where he was also politically involved. While in Oregon, he helped the state legislature establish \u003ca href=\"https://sos.oregon.gov/archives/exhibits/black-history/Pages/context/slavery.aspx#:~:text=The%20Oregon%20Lash%20Law&text=The%20next%20year%2C%20Peter%20Burnett,the%20slaves%20would%20be%20freed.\" target=\"_blank\" rel=\"noopener\">a lash law\u003c/a>, which required people of African descent to leave the state or else face punishment in the form of whippings.\u003c/p>\n\u003cp>“(Burnett) wanted to create a white-only west,” says Briley, adding that Burnett also advocated for California’s \u003ca href=\"https://www.kqed.org/news/11905371/california-celebrates-its-history-as-a-free-state-but-there-was-slavery-here\" target=\"_blank\" rel=\"noopener\">Fugitive Slave Law\u003c/a>, which put Black residents who’d escaped slavery at high risk of being sent back to Southern slave states. The underlying ambition of the law, Briley says, was to keep this new state’s Black population to a minimum.\u003c/p>\n\u003cp>In 1852, the same year California passed its Fugitive Slave Law, the state also established its first mainland prison, San Quentin.\u003c/p>\n\u003cp>“There’s a direct correlation between slavery and mass incarceration,” notes Briley. And so — aiming to abolish not just the language but the practice — “that’s at the core of our mission: dismantling the entire prison industrial complex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the Fugitive Slave Law expired after three years, the state of California’s constitution still allowed for involuntary servitude, which stands to this day.\u003c/p>\n\u003cp>The mere allowance for involuntary servitude isn’t the only issue. The enforcement of involuntary servitude is problematic, too. This is outlined in California Department of Corrections and Rehabilitation’s (CDCR) \u003ca href=\"https://codes.findlaw.com/ca/penal-code/pen-sect-2700/#:~:text=The%20Department%20of%20Corrections%20shall,of%20the%20Director%20of%20Corrections.\" target=\"_blank\" rel=\"noopener\">Penal Code 2700\u003c/a>, which dictates that every able-bodied incarcerated person must work. Whether waylaid by sickness, grief or other serious issues, people behind bars in this state must work or else face \u003ca href=\"https://www.shouselaw.com/ca/blog/cdcr-form-115-discipline-report/\" target=\"_blank\" rel=\"noopener\">a Form 115 discipline report\u003c/a>, a write-up added to their record, potentially resulting in a longer prison sentence.\u003c/p>\n\u003cp>“We’re not only trying to change the constitution, we’re not focused on symbolism,” says Lawrence Cox, during the same video call. Cox is the Regional Advocacy and Organizing Associate with the social justice nonprofit \u003ca href=\"https://prisonerswithchildren.org/about-aouon/\" target=\"_blank\" rel=\"noopener\">All of Us or None\u003c/a>, an organization working “to create an airtight solution that prevents the exploitation of individuals who are incarcerated.”\u003c/p>\n\u003cp>The larger goal, Cox adds, is to separate the prison industrial complex from the rehabilitative apparatus of corrections. Which is significant to the CDCR, as \u003ca href=\"http://www.allgov.com/usa/ca/departments/independent-agencies/department_of_corrections_and_rehabilitation?agencyid=223\" target=\"_blank\" rel=\"noopener\">the organization made it a point to add “rehabilitation” to their title in 2004\u003c/a>.\u003c/p>\n\u003cp>“Rehab is about autonomy,” says Cox, adding that “healing from the traumas that may have caused individuals to commit the crimes that they’ve committed… has nothing to do with forced slavery.”\u003c/p>\n\u003cfigure id=\"attachment_13962773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/230726-SAN-QUENTIN-MHN-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin State Prison in San Quentin on July 26, 2023. In March, California Governor Gavin Newsom announced that the state would seek to transform the maximum security prison into a center focused on the rehabilitation of incarcerated individuals. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n addition to the lack of choice, the conditions incarcerated people are forced to work under are often perilous. Electricians work with live power lines that feed electricity to prisons, and firefighters work on the dangerous frontlines of wildfires. Much of this work is done with a severe lack of support for workers’ rights.\u003c/p>\n\u003cp>In June, the California Division of Occupational Safety and Health (CAL/OSHA) agreed to \u003ca href=\"https://www.dir.ca.gov/dosh/heatillnessinfo.html\" target=\"_blank\" rel=\"noopener\">new guidelines regarding the rights of indoor workers\u003c/a> at workplaces where temperatures reach 82 degrees or above. It’s an important measure, enacted during a changing climate, when everyone is impacted by increasing temperatures. The problem is: \u003ca href=\"https://www.dir.ca.gov/oshsb/documents/Indoor-Heat-updated-txtbrdconsider.pdf\" target=\"_blank\" rel=\"noopener\">the legislation explicitly excludes people behind bars\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://prisonerswithchildren.org/staff-and-board/\" target=\"_blank\" rel=\"noopener\">Dr. Tanisha Cannon\u003c/a>, Managing Director of Legal Services for Prisoners with Children, believes that the labor done by incarcerated people, unpaid or underpaid, should technically qualify them as state workers. But they don’t receive any benefits or Social Security.\u003c/p>\n\u003cp>“Folks can work in state prison for 20 years,” says Cannon, “and then they get released and come home to $200 gate money.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cannon notes that the $200 gate money that the state gives people who’ve been incarcerated hasn’t changed since the 1970s. In Northern California, she adds, $200 covers about a week’s worth of groceries.\u003c/p>\n\u003cp>“If these jobs didn’t exist inside of prisons, (the state would) have to hire more COs and more electricians to run the prison,” says Cannon. “Prisoners are really running the prison system.”\u003c/p>\n\u003cp>And they aren’t getting paid fairly for it.\u003c/p>\n\u003cp>It’s important for everyone to vote, Cannon emphasizes. She wants to be clear that people with felonies, as well as incarcerated people in California, can vote. (\u003ca href=\"https://www.sos.ca.gov/elections/voting-rights-restored\">Registering and obtaining a ballot\u003c/a> is another hurdle.)\u003c/p>\n\u003cp>Given the theatrics of this year’s presidential election, Cannon understands how people can grow disenfranchised with the electoral process. Nevertheless, she and other advocates are still encouraging people to vote, “because there are some things on this ballot that are going to directly impact you and your community,” says Cannon.\u003c/p>\n\u003cp>And when it comes to voting on involuntary servitude and Prop. 6, Cannon says it’s particularly important, considering that the state has extracted wealth from Black communities for hundreds of years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If these same folks that are producing the labor were getting paid,” says Cannon, “this would extract wealth from those larger companies, and reinvest it in our communities.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A bunch of athletic do-gooders heralded the apocalypse* over the weekend when they found a 12-foot-long creature floating dead in the Pacific Ocean near San Diego, and decided to drag it to shore on a paddleboard. You know, instead of just pretending it hadn’t happened, like normal, anxious people.\u003c/p>\n\u003cp>[*This is a lie.]\u003c/p>\n\u003cp>Exuding typical levels of Southern California enthusiasm and positivity, the swimmers notified officials about the creature — for science or whatever — who were thrilled with the find and planned a necropsy to see what killed it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4cpC2aErI9U\u003c/p>\n\u003cp>So, what is this massive sea serpent-looking thing? A giant oarfish, that’s what: a be-mohawked deep-sea longboi whose entire family has been nicknamed “doomsday fish.” (\u003cem>Cool\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oarfish can grow up to 36 feet in length, making them the longest bony fish on Earth, and usually hang out thousands of feet underwater. Oh, yes — and this is the most important part — despite having incredibly derpy faces, the oarfish are said to be predictors of earthquakes, and prophets of death and mayhem and mortal danger to all our lives**.\u003c/p>\n\u003cp>[**This is also a lie.]\u003c/p>\n\u003cp>The earthquake theory posits that because oarfish live so close to the bottom of the ocean, they can sense when seismic activity is afoot, and rush to the surface in a panic. (Kind of like the way San Franciscans all run around looking for a table to hide under when we get those \u003ca href=\"https://www.shakealert.org/\">Shake Alert texts\u003c/a>.) According to some corners of the internet, multiple oarfish were spotted in Japan before the 2011 earthquake and tsunami, and a couple of oarfish washed ashore in the Philippines before a 6.6 earthquake in 2017. Which thoroughly suggests that when human bystanders see an oarfish, it definitely means that we’re all going to die.***\u003c/p>\n\u003cp>[***Another lie.]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If, like me, you are incapable of staying calm in the face of these harbingers of doom, try and find comfort in the fact that apparently, oarfish also showed up in California in 2013, 2014 and 2015 without major catastrophe befalling us all. Keep everything crossed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A bunch of athletic do-gooders heralded the apocalypse* over the weekend when they found a 12-foot-long creature floating dead in the Pacific Ocean near San Diego, and decided to drag it to shore on a paddleboard. You know, instead of just pretending it hadn’t happened, like normal, anxious people.\u003c/p>\n\u003cp>[*This is a lie.]\u003c/p>\n\u003cp>Exuding typical levels of Southern California enthusiasm and positivity, the swimmers notified officials about the creature — for science or whatever — who were thrilled with the find and planned a necropsy to see what killed it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4cpC2aErI9U'\n title='//www.youtube.com/embed/4cpC2aErI9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So, what is this massive sea serpent-looking thing? A giant oarfish, that’s what: a be-mohawked deep-sea longboi whose entire family has been nicknamed “doomsday fish.” (\u003cem>Cool\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oarfish can grow up to 36 feet in length, making them the longest bony fish on Earth, and usually hang out thousands of feet underwater. Oh, yes — and this is the most important part — despite having incredibly derpy faces, the oarfish are said to be predictors of earthquakes, and prophets of death and mayhem and mortal danger to all our lives**.\u003c/p>\n\u003cp>[**This is also a lie.]\u003c/p>\n\u003cp>The earthquake theory posits that because oarfish live so close to the bottom of the ocean, they can sense when seismic activity is afoot, and rush to the surface in a panic. (Kind of like the way San Franciscans all run around looking for a table to hide under when we get those \u003ca href=\"https://www.shakealert.org/\">Shake Alert texts\u003c/a>.) According to some corners of the internet, multiple oarfish were spotted in Japan before the 2011 earthquake and tsunami, and a couple of oarfish washed ashore in the Philippines before a 6.6 earthquake in 2017. Which thoroughly suggests that when human bystanders see an oarfish, it definitely means that we’re all going to die.***\u003c/p>\n\u003cp>[***Another lie.]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If, like me, you are incapable of staying calm in the face of these harbingers of doom, try and find comfort in the fact that apparently, oarfish also showed up in California in 2013, 2014 and 2015 without major catastrophe befalling us all. Keep everything crossed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13961048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg\" alt=\"A young woman sits semi-reclined on a grey couch, looking downward, covered in white and maroon blankets.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her apartment, one year after moving to the South Bay from Mumbai. The adjustment process for immigrants can bring on ‘migratory melancholia,’ a specific cluster of emotions. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of all the personal labels I’ve subscribed to while recently working out the plurality of my identity, a tiny alphanumeric one has emerged as the most potent — H4.\u003c/p>\n\u003cp>This seemingly benign title is the name of my visa category in the United States. Around 18 months ago, I moved to the San Francisco Bay Area from India’s financial capital, Mumbai. To say I grew up there sounds a touch reductive; it’s where I lived, learned and loved for 37 years.\u003c/p>\n\u003cp>I moved for love. A whirlwind, cross-continental romance that began on Bumble during the pandemic ended in wedding vows that brought me to America in the winter of 2022. That’s when I became an “H4 wife,” a term used for newlywed spouses, typically brides, who come to the country on a “dependent visa,” which means their partner holds a more dignified employment-based visa called the H1.\u003c/p>\n\u003cp>I used to think “non-resident alien” was the weirdest official nomenclature in America, but “dependent spouse” is worse.\u003c/p>\n\u003cp>Lest anyone think this is a garden variety sob story, let me clarify that I live a privileged life. In fact, the first time I used the word “traumatized” to describe my psychological state after moving to Silicon Valley, my husband balked and reminded me that I was sitting on a $1,500 couch and drinking gourmet Colombian coffee. But the tears still rolled down my face.\u003c/p>\n\u003cfigure id=\"attachment_13961049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg\" alt=\"A young woman sips from a mug while sitting on a couch, with sunlight coming in from the right side.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her South Bay apartment. H4 visa holders are sometimes referred to as ‘dependent spouses,’ a distorted form of citizenship limbo. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggle to reorient — socially, professionally, practically — in a new country is real. The story of the asylum-seeking refugee who flees economic hardship, political anarchy or religious persecution in their home country is well documented, as it should be. New York-based author and journalism professor Suketu Mehta writes about immigration as reparation for colonialism in his fabulous book \u003cem>This Land Is My Land\u003c/em>, which passionately advocates for immigrants who fight the odds to come to the United States in search of a better life, and devote their waking hours to earning money for their struggling families back home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who writes of the trauma of the highly educated, upper-middle class legal immigrant who kisses family and friends goodbye, unplugs a career and moves of their own volition, only to realize that the real journey begins after the plane lands on the tarmac? Who documents the disillusionment of the financially stable, travel-savvy global citizen, who, passport in hand, marches across airports in a quest for the best life they can gift themselves? Who chronicles my — our — brand of immigration? \u003c/p>\n\u003cp>Let me try. What is commonly misinterpreted as homesickness or casually dismissed as the stress of a new relationship — or as Indians like to say, “adjustment issues” — is in fact a cluster of emotions including frustration, anxiousness, low self-esteem, confusion, self-doubt, loneliness, an identity crisis and a sense of pervasive sadness.\u003c/p>\n\u003cp>Collectively, this dull mood state is different in quality from depression or anxiety disorder, both far more debilitating conditions. Nonetheless, the sub-clinical disquietude of the contemporary settler is what I have come to call “migratory melancholia.”\u003c/p>\n\u003cp>The concept of emotion clusters has been explored indifferent contexts. British Psychologist Kevin Dutton, in his book \u003cem>The Wisdom Of Psychopaths\u003c/em>, writes about traits that comprise the psychopathic personality — fearlessness, ruthlessness, confidence, focus, charm, lack of conscience and calmness under pressure. \u003c/p>\n\u003cp>The same logic of clusters, with different emotions, can be applied to migratory melancholia. It could be years before this depressive subset finds room in mental health literature. But change can start sooner. I’d like people experiencing post-migration blues to recognize the signs and know that they are not alone.\u003c/p>\n\u003cfigure id=\"attachment_13961047\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg\" alt=\"\" width=\"899\" height=\"1255\" class=\"size-full wp-image-13961047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-768x1072.jpg 768w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">On the tarmac. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every immigrant feels their story is unique; that they are somehow different from the hundreds of thousands of others who risk leaving home for their version of the American dream, be it professional, educational, financial or, as in my case, romantic. And while their individual details may be unique, we’re still united in movement, and united in spirit. \u003c/p>\n\u003cp>On my way from Mumbai to San Francisco, there was a seven-hour layover in Dubai. While waiting, I swapped stories with some fellow passengers, one of them a Bangladeshi man from the town of Sylhet who has made New York his home. We had neither coast in common nor mother tongue, but were united in the American immigrant experience.\u003c/p>\n\u003cp>We each grumbled about the lengthy documentation involved in securing, then renewing, then stamping, and then re-renewing our respective visas, and the arduous path to officially belonging here. But that is just paperwork, he said, for America is “here” — pointing to his head with one hand and his heart with another.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.ashwinigangal.com/\">Ashwini Gangal\u003c/a> is a Mumbai-bred, California-based journalist, hopelessly in love with the written word. She is the author of two chapbooks, ‘\u003ca href=\"https://www.amazon.com/Hormonal-House-collection-stories-Mumbai/dp/B0CMN6TYBM\">Hormonal House\u003c/a>’ and ‘\u003ca href=\"https://bottlecap.press/products/yersinia\">Yersinia Pestis\u003c/a>.’ \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg\" alt=\"A young woman sits semi-reclined on a grey couch, looking downward, covered in white and maroon blankets.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her apartment, one year after moving to the South Bay from Mumbai. The adjustment process for immigrants can bring on ‘migratory melancholia,’ a specific cluster of emotions. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of all the personal labels I’ve subscribed to while recently working out the plurality of my identity, a tiny alphanumeric one has emerged as the most potent — H4.\u003c/p>\n\u003cp>This seemingly benign title is the name of my visa category in the United States. Around 18 months ago, I moved to the San Francisco Bay Area from India’s financial capital, Mumbai. To say I grew up there sounds a touch reductive; it’s where I lived, learned and loved for 37 years.\u003c/p>\n\u003cp>I moved for love. A whirlwind, cross-continental romance that began on Bumble during the pandemic ended in wedding vows that brought me to America in the winter of 2022. That’s when I became an “H4 wife,” a term used for newlywed spouses, typically brides, who come to the country on a “dependent visa,” which means their partner holds a more dignified employment-based visa called the H1.\u003c/p>\n\u003cp>I used to think “non-resident alien” was the weirdest official nomenclature in America, but “dependent spouse” is worse.\u003c/p>\n\u003cp>Lest anyone think this is a garden variety sob story, let me clarify that I live a privileged life. In fact, the first time I used the word “traumatized” to describe my psychological state after moving to Silicon Valley, my husband balked and reminded me that I was sitting on a $1,500 couch and drinking gourmet Colombian coffee. But the tears still rolled down my face.\u003c/p>\n\u003cfigure id=\"attachment_13961049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg\" alt=\"A young woman sips from a mug while sitting on a couch, with sunlight coming in from the right side.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her South Bay apartment. H4 visa holders are sometimes referred to as ‘dependent spouses,’ a distorted form of citizenship limbo. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggle to reorient — socially, professionally, practically — in a new country is real. The story of the asylum-seeking refugee who flees economic hardship, political anarchy or religious persecution in their home country is well documented, as it should be. New York-based author and journalism professor Suketu Mehta writes about immigration as reparation for colonialism in his fabulous book \u003cem>This Land Is My Land\u003c/em>, which passionately advocates for immigrants who fight the odds to come to the United States in search of a better life, and devote their waking hours to earning money for their struggling families back home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who writes of the trauma of the highly educated, upper-middle class legal immigrant who kisses family and friends goodbye, unplugs a career and moves of their own volition, only to realize that the real journey begins after the plane lands on the tarmac? Who documents the disillusionment of the financially stable, travel-savvy global citizen, who, passport in hand, marches across airports in a quest for the best life they can gift themselves? Who chronicles my — our — brand of immigration? \u003c/p>\n\u003cp>Let me try. What is commonly misinterpreted as homesickness or casually dismissed as the stress of a new relationship — or as Indians like to say, “adjustment issues” — is in fact a cluster of emotions including frustration, anxiousness, low self-esteem, confusion, self-doubt, loneliness, an identity crisis and a sense of pervasive sadness.\u003c/p>\n\u003cp>Collectively, this dull mood state is different in quality from depression or anxiety disorder, both far more debilitating conditions. Nonetheless, the sub-clinical disquietude of the contemporary settler is what I have come to call “migratory melancholia.”\u003c/p>\n\u003cp>The concept of emotion clusters has been explored indifferent contexts. British Psychologist Kevin Dutton, in his book \u003cem>The Wisdom Of Psychopaths\u003c/em>, writes about traits that comprise the psychopathic personality — fearlessness, ruthlessness, confidence, focus, charm, lack of conscience and calmness under pressure. \u003c/p>\n\u003cp>The same logic of clusters, with different emotions, can be applied to migratory melancholia. It could be years before this depressive subset finds room in mental health literature. But change can start sooner. I’d like people experiencing post-migration blues to recognize the signs and know that they are not alone.\u003c/p>\n\u003cfigure id=\"attachment_13961047\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg\" alt=\"\" width=\"899\" height=\"1255\" class=\"size-full wp-image-13961047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-768x1072.jpg 768w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">On the tarmac. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every immigrant feels their story is unique; that they are somehow different from the hundreds of thousands of others who risk leaving home for their version of the American dream, be it professional, educational, financial or, as in my case, romantic. And while their individual details may be unique, we’re still united in movement, and united in spirit. \u003c/p>\n\u003cp>On my way from Mumbai to San Francisco, there was a seven-hour layover in Dubai. While waiting, I swapped stories with some fellow passengers, one of them a Bangladeshi man from the town of Sylhet who has made New York his home. We had neither coast in common nor mother tongue, but were united in the American immigrant experience.\u003c/p>\n\u003cp>We each grumbled about the lengthy documentation involved in securing, then renewing, then stamping, and then re-renewing our respective visas, and the arduous path to officially belonging here. But that is just paperwork, he said, for America is “here” — pointing to his head with one hand and his heart with another.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.ashwinigangal.com/\">Ashwini Gangal\u003c/a> is a Mumbai-bred, California-based journalist, hopelessly in love with the written word. She is the author of two chapbooks, ‘\u003ca href=\"https://www.amazon.com/Hormonal-House-collection-stories-Mumbai/dp/B0CMN6TYBM\">Hormonal House\u003c/a>’ and ‘\u003ca href=\"https://bottlecap.press/products/yersinia\">Yersinia Pestis\u003c/a>.’ \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-victory-lap-for-megan-thee-stallion-at-sfs-chase-center",
"title": "A Victory Lap for Megan Thee Stallion at SF’s Chase Center",
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"content": "\u003cp>From the moment the lights went down at Chase Center in San Francisco, it was clear that Megan Thee Stallion was ready to leave it all on the floor for her Bay Area Hotties.\u003c/p>\n\u003cp>On June 23, the rap titan ascended on a platform during her trash-talking, latest No. 1 single, “\u003ca href=\"https://www.youtube.com/watch?v=XVgCLQ_JQfU\">HISS\u003c/a>,” delivering venomous bars a cappella as an enthusiastic crowd rapped along. The track clapped back at her former collaborator \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">Nicki Minaj\u003c/a> and Canadian menaces \u003ca href=\"https://www.rollingstone.com/music/music-news/drake-controversial-support-tory-lanez-megan-thee-stallion-shooting-appeal-1234975634/\">Drake\u003c/a> and \u003ca href=\"https://www.npr.org/2023/08/08/1181702809/tory-lanez-megan-thee-stallion\">Tory Lanez\u003c/a>, leaving no doubt that this tour represents a boisterous victory lap.\u003c/p>\n\u003cp>Megan Thee Stallion captured the zeitgeist in 2019 with her sex-positive lyricism and superhuman knee strength. After a global pandemic, \u003ca href=\"https://www.npr.org/2023/03/14/1163603837/megans-rule-being-exceptional-doesnt-make-you-the-exception\">surviving a shooting\u003c/a> and enduring a battle with her former record label, the rapper at long last embarked on her first headlining tour, flying her “Hot Girl Summer” banner across the country in support of her self-titled third studio album, due out Friday.\u003c/p>\n\u003cfigure id=\"attachment_13958683\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>The 26-song setlist covered a lot of ground, and had a lot of payoff for new and old-school fans alike. Megan Thee Stallion reached as far back as her 2017 track “\u003ca href=\"https://youtu.be/gvSD05Yu7Ig?si=195uTm3kfDZ6ZHtg\">Stalli (Freestyle)\u003c/a>,” where she questions the penmanship of her peers while impressively using the word “onomatopoeia” in her flow: “Your favorite rapper only use onomatopoeias / You don’t wanna hear it ’cause you only wanna see her.”\u003c/p>\n\u003cp>Superstardom has not been easy for the Houston rapper, who has received misogynistic and racist backlash following her breakthrough. “My motherfuckin’ body, my choice / Ain’t no lil’ dick takin’ my voice,” she rapped to the menacing beat of “\u003ca href=\"https://www.youtube.com/watch?v=oA9M928sL5Y\">Gift & A Curse\u003c/a>.” The roaring crowd echoed her words back in a moment that felt both timeless and extremely timely.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later in the night, fans of all genders, shapes and sizes — many dressed in their best cheek-baring outfits — joined her on stage for an epic twerk-off that celebrated individuality and pride in their bodies.\u003c/p>\n\u003cfigure id=\"attachment_13958607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958607\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>GloRilla, who delivered a high-octane opening set earlier in the night, returned to the stage to perform her addictive new track featuring Megan Thee Stallion, “\u003ca href=\"https://www.youtube.com/watch?v=BT_83vSP1es\">Wanna Be\u003c/a>.” The duo’s synergy elevated the cocky tune to new heights, and a symphony of “Go Meg!” and “Get ’em Glo!” chants erupted as they got low. [aside postid='arts_13960019']\u003c/p>\n\u003cp>Throughout the show, Megan Thee Stallion interacted with the crowd as if they were her best friends, which created some hilarious moments. A fan seemingly proposed to her with a banner: “Petite Black woman who will sign an NDA.” Another fan’s sign read “Both of my boyfriends are Captain Hook,” referencing the rapper’s explicit 2020 hit. “I’m jealous,” Thee Stallion commented after initially being taken aback — the best we can do is hope the boyfriends don’t mind sharing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the show drew to a close with Megan Thee Stallion’s gargantuan Beyoncé collaboration “\u003ca href=\"https://www.youtube.com/watch?v=lEIqjoO0-Bs\">Savage Remix\u003c/a>,” for which she had a cameo in the singer’s \u003cem>RENAISSANCE\u003c/em> tour film, all I could think about was what a huge triumph this tour has been for her. If anyone had any doubt that Megan Thee Stallion is an impeccable live performer, bar spitter, knee bender and entertainer, there’s no way they could’ve left Chase Center thinking anything but that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the moment the lights went down at Chase Center in San Francisco, it was clear that Megan Thee Stallion was ready to leave it all on the floor for her Bay Area Hotties.\u003c/p>\n\u003cp>On June 23, the rap titan ascended on a platform during her trash-talking, latest No. 1 single, “\u003ca href=\"https://www.youtube.com/watch?v=XVgCLQ_JQfU\">HISS\u003c/a>,” delivering venomous bars a cappella as an enthusiastic crowd rapped along. The track clapped back at her former collaborator \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">Nicki Minaj\u003c/a> and Canadian menaces \u003ca href=\"https://www.rollingstone.com/music/music-news/drake-controversial-support-tory-lanez-megan-thee-stallion-shooting-appeal-1234975634/\">Drake\u003c/a> and \u003ca href=\"https://www.npr.org/2023/08/08/1181702809/tory-lanez-megan-thee-stallion\">Tory Lanez\u003c/a>, leaving no doubt that this tour represents a boisterous victory lap.\u003c/p>\n\u003cp>Megan Thee Stallion captured the zeitgeist in 2019 with her sex-positive lyricism and superhuman knee strength. After a global pandemic, \u003ca href=\"https://www.npr.org/2023/03/14/1163603837/megans-rule-being-exceptional-doesnt-make-you-the-exception\">surviving a shooting\u003c/a> and enduring a battle with her former record label, the rapper at long last embarked on her first headlining tour, flying her “Hot Girl Summer” banner across the country in support of her self-titled third studio album, due out Friday.\u003c/p>\n\u003cfigure id=\"attachment_13958683\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>The 26-song setlist covered a lot of ground, and had a lot of payoff for new and old-school fans alike. Megan Thee Stallion reached as far back as her 2017 track “\u003ca href=\"https://youtu.be/gvSD05Yu7Ig?si=195uTm3kfDZ6ZHtg\">Stalli (Freestyle)\u003c/a>,” where she questions the penmanship of her peers while impressively using the word “onomatopoeia” in her flow: “Your favorite rapper only use onomatopoeias / You don’t wanna hear it ’cause you only wanna see her.”\u003c/p>\n\u003cp>Superstardom has not been easy for the Houston rapper, who has received misogynistic and racist backlash following her breakthrough. “My motherfuckin’ body, my choice / Ain’t no lil’ dick takin’ my voice,” she rapped to the menacing beat of “\u003ca href=\"https://www.youtube.com/watch?v=oA9M928sL5Y\">Gift & A Curse\u003c/a>.” The roaring crowd echoed her words back in a moment that felt both timeless and extremely timely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later in the night, fans of all genders, shapes and sizes — many dressed in their best cheek-baring outfits — joined her on stage for an epic twerk-off that celebrated individuality and pride in their bodies.\u003c/p>\n\u003cfigure id=\"attachment_13958607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958607\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>GloRilla, who delivered a high-octane opening set earlier in the night, returned to the stage to perform her addictive new track featuring Megan Thee Stallion, “\u003ca href=\"https://www.youtube.com/watch?v=BT_83vSP1es\">Wanna Be\u003c/a>.” The duo’s synergy elevated the cocky tune to new heights, and a symphony of “Go Meg!” and “Get ’em Glo!” chants erupted as they got low. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the show, Megan Thee Stallion interacted with the crowd as if they were her best friends, which created some hilarious moments. A fan seemingly proposed to her with a banner: “Petite Black woman who will sign an NDA.” Another fan’s sign read “Both of my boyfriends are Captain Hook,” referencing the rapper’s explicit 2020 hit. “I’m jealous,” Thee Stallion commented after initially being taken aback — the best we can do is hope the boyfriends don’t mind sharing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the show drew to a close with Megan Thee Stallion’s gargantuan Beyoncé collaboration “\u003ca href=\"https://www.youtube.com/watch?v=lEIqjoO0-Bs\">Savage Remix\u003c/a>,” for which she had a cameo in the singer’s \u003cem>RENAISSANCE\u003c/em> tour film, all I could think about was what a huge triumph this tour has been for her. If anyone had any doubt that Megan Thee Stallion is an impeccable live performer, bar spitter, knee bender and entertainer, there’s no way they could’ve left Chase Center thinking anything but that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dr-jack-turban-free-to-be-simon-schuster",
"title": "In ‘Free To Be,’ A UCSF Doctor Dispels Myths About Trans Youth",
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"content": "\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. [aside postid='arts_13926077']\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. [aside postid='arts_13957070']\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” [aside postid='arts_13955066']\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” [aside postid='news_11966077']\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. [aside postid='arts_13858877']\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Veronica Esposito is a writer, transgender advocate and associate marriage and family therapist specializing in supporting transgender clients. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jackturban.com/\">Dr. Jack Turban\u003c/a>, one of the nation’s most respected authorities on transgender youth, nearly missed this calling and became a dermatologist. A gay son of a strongly unaccepting father, he took the tried-and-true path of trying to win family love through perfection.\u003c/p>\n\u003cp>“There’s a lot of pressure to become a dermatologist in medical school,” he tells me via video interview. “People don’t realize that it’s considered a very prestigious thing. I think I also had ‘best little gay boy in the world syndrome’ — like where you grow up thinking this thing is so bad and wrong that you should be perfect in every other way.”\u003c/p>\n\u003cp>Turban’s ideas about his career prospects began to shift on a trip to Europe, as a part of a piece he was writing for \u003cem>The New York Times\u003c/em> on trans kids. “That trip changed everything,” he says. “It was the moment for me when it went from being this intellectualized discussion to the real-life kid in front of you.”\u003c/p>\n\u003cp>Turban saw the vast difference between the kids who were being affirmed and those who weren’t. After consulting with some colleagues and doing a child psychiatry rotation, he knew his future was working with transgender children and not, as he puts it, rolling mice to their tanning beds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the work that Turban has done since then as a researcher and an advocate now culminates in the release of his first book, \u003ca href=\"https://www.harvard.com/book/free_to_be/\">\u003cem>Free to Be: Understanding Kids & Gender Identity\u003c/em>\u003c/a> (out June 4 via Simon & Schuster). Written specifically for parents — although also a wonderful read for anyone who wants to be more educated about the current political debates around trans people — the book is a readable, engaging and accessible introduction to the basics of what it means to be a transgender child, and the many options open to those who wish to transition. Turban admirably engages a lot of the misinformation circulating about this heavily marginalized demographic, and grounds research in firsthand stories from his own clinical work with kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turban has spent much of his career in the \u003ca href=\"https://transcare.ucsf.edu/\">UCSF Gender Clinic\u003c/a>, one of the nation’s leading clinics serving transgender minors. During our interview, he noted that some states where he considered setting down roots — including Tennessee — have outlawed such care, meaning that if he had followed that path, his career would have been brought to an untimely halt by Republican legislators.\u003c/p>\n\u003cp>“It’s scary to think,” he says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to serving trans kids as a medical provider, Turban has also produced a substantial body of research. One of his frequently cited papers found that when trans youth want puberty blockers and don’t have access to them, it is correlated with a substantial increase in suicidality across their entire lifespan, even if they later are able to get gender-affirming care as an adult. Among other things, this paper demonstrated how letting trans kids go through their natal puberty was not a neutral act, and could in fact have serious consequences.\u003c/p>\n\u003cp>Another paper of his found that those who realized their gender identity in childhood tended to wait over a decade before disclosing it to anyone. Turban believes that these findings help dispel one of the most widely promulgated myths about trans kids, that of so-called rapid onset gender dysphoria.\u003c/p>\n\u003cp>“Rapid onset gender dysphoria is just the thing that will not die,” he tells me. “This whole notion that when parents find out is when kids realized for the first time is clearly false. It’s heartbreaking that they have to wait so long before they even feel safe telling the people who are supposed to be the safest to talk to.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turban shares his findings in ways that are vivid and easy to digest, which makes \u003cem>Free to Be\u003c/em> so valuable. Among other important topics, Turban examines in detail the ill-fated attempts to find a “cause” for being trans (theories include bad mothering, mental illness among mothers and sexual abuse). As Turban notes, these have all been discredited, and he presents strong evidence that transness is likely biological in nature. This would accord with the experience of the vast majority of trans people, and it would also explain why attempts at conversion therapy have been such abject failures. In fact, many studies (including Turban’s own research) have demonstrated that conversion therapy is incredibly harmful, greatly increasing suicidality and depression and failing to have any impact on identity.\u003c/p>\n\u003cp>In spite of all that, Turban does not argue that the “born this way” narrative is the best way to promote trans equality. What he argues for instead is just getting to know a trans person. “People have all these ideas and opinions about trans people, but when they finally go and meet a trans person, there’s a major ‘oh shit’ moment,” he says.\u003c/p>\n\u003cp>Turban described a presentation he gave to a group of medical students at Yale, using a pre-test and post-test to determine whether their attitudes shifted. He found that, even though the students left more informed, their beliefs about the ethics of trans medicine stayed the same.\u003c/p>\n\u003cp>After Turban arranged for a trans young person to speak about her experiences to the class, everything changed. “Major props to this girl, who did not have to do this,” he says. “She just sat down and answered questions, and all the medical students came up afterwards and said things like, ‘Oh my God, I can’t believe I ever considered taking medical care away from this kid, when it’s so clear how important this was.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Free to Be\u003c/em>, Turban strikes a parallel between gay equality and trans equality, even discussing his interviews with Evan Wolfson, widely credited as an leading architect of marriage equality in the United States. As Turban notes, Wolfson has long argued that “born this way” might have played some role for the gay rights movement, but that the bigger gains were made when straight Americans interacted with gay ones as the latter became increasingly visible throughout society. Turban believes the same will hold true for trans equality.\u003c/p>\n\u003cp>Perhaps this is why Turban chooses to take so much space in \u003cem>Free to Be\u003c/em> to take us into the lives of the kids themselves, drawing on his own clinical work to compellingly share his clients’ searches for acceptance, bodily autonomy and safety.\u003c/p>\n\u003cp>In the book, we meet Sam, a seven-year-old nonbinary child. Early on in working with them, Turban explains to Sam what will soon happen when they go through their natal puberty. Turban then asks Sam what they want to do — experience that puberty or try to change it — and Sam says they’ll think about it. Turban ends up following Sam through an adolescence in which they choose not to intervene in their puberty, instead addressing their trans identity simply through things like clothing and haircuts. This episode gives the lie to prevailing myths about trans kids — that they are too young and naive to know what they want for their own bodies, and that maintaining a trans identity and a social transition will inevitably lead to medical interventions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although Turban has had a very successful and rewarding career as an advocate for trans kids, it has not been without its share of difficulties. “For the last five, ten years, there’s been this constant stream of death threats,” he shares. “It’s become a lot scarier, especially with the political environment right now. It’s definitely something that I think about.”\u003c/p>\n\u003cp>Anti-trans hate campaigns also impact the kids he works with, especially when peers at school parrot hate speech. “It just makes me want to cry,” he says. “They hear things like being trans is a mental illness. Or the sports thing comes up, and they all want to quit sports or intentionally lose. Or when dating comes up, they’re really afraid of that.”\u003c/p>\n\u003cp>As someone who has spent years of my professional life supporting the mental health of trans people, as well as educating other clinicians about best practices for serving this demographic, Turban’s work has been absolutely essential. His research papers are among those that I most often quote and share with colleagues and parents of trans children. They are impactful and eye-opening, and really help those who are not trans better understand the experience.\u003c/p>\n\u003cp>\u003cem>Free to Be\u003c/em> is a wonderful distillation of years of Turban’s research, as well as his advocacy and countless hours of face-to-face work with these kids and their parents. I know it is something I will be reaching for often, and recommending to my clients for some time to come.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jack Turban will discuss ‘Free to Be’ at\u003ca href=\"https://www.bookpassage.com/event/jack-turban-md-free-be-understanding-kids-gender-identity-corte-madera-store\"> Book Passage in Corte Madera on June 2\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, as YouTuber Jenny Nicholson’s review/eulogy for the shuttered Disney Star Wars hotel started making the rounds, I was curious. I’d of course heard about the “immersive experience” officially called Star Wars: Galactic Starcruiser, and here was someone who’d actually experienced the, um, experience. But then I saw the video’s running time — four hours and five minutes! — and I closed the tab faster than I do whenever the algorithm wants to show me some dumbass trying to pick up a cobra.\u003c/p>\n\u003cp>[aside postid='arts_13958493']Who has the kind of time, I wondered, to sit around and watch YouTube for half the damn workday? In this, the era of TikTok? And Reels? And in what is, we have all been repeatedly assured, a time of shrinking attention spans?\u003c/p>\n\u003cp>In the case of Nicholson’s Starcruiser video, millions and millions of people have the time, it turns out. And she’s not alone: Over the past few years, you may have noticed YouTube suggesting videos to you so long they make \u003cem>Lawrence of Arabia\u003c/em> seem downright punchy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T0CpOYZZZW4&t=1s\u003c/p>\n\u003cp>In my feed, most of these take the form of disquietingly deep — and often critical — dives into various aspects of nerdy pop culture. “That internet D&D show we all used to love sucks now, and here’s three hours worth of proof!” “That new movie that everyone loves sucks, and here’s 63 reasons why!” “Here’s a recap of that series no one but you and me is watching, and the 43 glaring errors in continuity it overlooked!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not hard to understand why this is happening. Nerds gonna nerd, after all. We love what we love, and we’re prepared to corner you at a party, maybe over by the onion dip, and talk to you (OK: at you) about our every concern with it. At considerable length. (Why, yes, we do notice you gazing imploringly over our shoulders for someone, anyone, to rescue you; we just don’t care, because the really interesting thing about \u003cem>Buffy\u003c/em> Season 4 that most people overlook is… ) And of course the YouTube monetization model prizes every precious minute it gets to spend with those delicious eyeballs of yours. Passion + Profit-Seeking is a powerful motivator; these videos will keep coming.\u003c/p>\n\u003cp>Or, if you truly believe in the marketplace of ideas, maybe they won’t. After all, most of these long-haul grievance videos aren’t worth anywhere near the time commitment they demand, and spending so many hours watching such sustained negativity leaves you feeling coated in a kind of psychic grime, a residue of greasy cynicism. I should note that Nicholson’s Starcruiser video is a glaring exception — she’s passionate, yes, but admirably clear-eyed about that passion. She makes her points (her many, many, many points) with equanimity and humor, and she’s got the literal receipts. She’s also quick to praise those aspects of the experience worth praising, and smartly drills down on the question of value-for-money.\u003c/p>\n\u003cp>[aside postid='arts_13958101']But there’s no denying that a shift is happening. TikTok itself — that online smithy wherein memes get forged and hammered — is launching longer videos, and Mr. Beast, arguably the quintessential YouTuber, recently started pumping out longer videos based, he says, on viewer demand.\u003c/p>\n\u003cp>Now, me? I’m so old I remember thinking a 13-minute music video was downright audacious. And I’ll admit, I didn’t actually watch the Starcruiser video, I listened to it while driving to and from the city for a movie screening. But I do watch several actual-play D&D YouTube shows, which sometimes stretch past the four-hour mark. And back in the early aughts I’d happily sink endless hours into reading smart, well-written TV recaps that might as well have been novellas. Is there any substantive difference?\u003c/p>\n\u003cp>But I choose to be heartened by the rise of long-form video. Or more specifically: By the willingness of people to watch a single video for hours on end. It suggests that quality of work continues to matter — you do, after all, still have to earn all those extra minutes of our attention. And in a culture so quick to blame a raft of societal ills on shrinking attention spans, it offers a surprising and intriguing counter-narrative to the experts who cite audience data to dictate precisely how long a YouTube video, or a web article, or a podcast episode “should” be.\u003c/p>\n\u003cp>Turns out the answer isn’t quantitative, but qualitative — not precise length, but personal value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s ‘Pop Culture Happy Hour’ newsletter. Listen to ‘Pop Culture Happy Hour’ on Apple Podcasts and Spotify.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Who has the kind of time, I wondered, to sit around and watch YouTube for half the damn workday? In this, the era of TikTok? And Reels? And in what is, we have all been repeatedly assured, a time of shrinking attention spans?\u003c/p>\n\u003cp>In the case of Nicholson’s Starcruiser video, millions and millions of people have the time, it turns out. And she’s not alone: Over the past few years, you may have noticed YouTube suggesting videos to you so long they make \u003cem>Lawrence of Arabia\u003c/em> seem downright punchy.\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/T0CpOYZZZW4'\n title='//www.youtube.com/embed/T0CpOYZZZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In my feed, most of these take the form of disquietingly deep — and often critical — dives into various aspects of nerdy pop culture. “That internet D&D show we all used to love sucks now, and here’s three hours worth of proof!” “That new movie that everyone loves sucks, and here’s 63 reasons why!” “Here’s a recap of that series no one but you and me is watching, and the 43 glaring errors in continuity it overlooked!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not hard to understand why this is happening. Nerds gonna nerd, after all. We love what we love, and we’re prepared to corner you at a party, maybe over by the onion dip, and talk to you (OK: at you) about our every concern with it. At considerable length. (Why, yes, we do notice you gazing imploringly over our shoulders for someone, anyone, to rescue you; we just don’t care, because the really interesting thing about \u003cem>Buffy\u003c/em> Season 4 that most people overlook is… ) And of course the YouTube monetization model prizes every precious minute it gets to spend with those delicious eyeballs of yours. Passion + Profit-Seeking is a powerful motivator; these videos will keep coming.\u003c/p>\n\u003cp>Or, if you truly believe in the marketplace of ideas, maybe they won’t. After all, most of these long-haul grievance videos aren’t worth anywhere near the time commitment they demand, and spending so many hours watching such sustained negativity leaves you feeling coated in a kind of psychic grime, a residue of greasy cynicism. I should note that Nicholson’s Starcruiser video is a glaring exception — she’s passionate, yes, but admirably clear-eyed about that passion. She makes her points (her many, many, many points) with equanimity and humor, and she’s got the literal receipts. She’s also quick to praise those aspects of the experience worth praising, and smartly drills down on the question of value-for-money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s no denying that a shift is happening. TikTok itself — that online smithy wherein memes get forged and hammered — is launching longer videos, and Mr. Beast, arguably the quintessential YouTuber, recently started pumping out longer videos based, he says, on viewer demand.\u003c/p>\n\u003cp>Now, me? I’m so old I remember thinking a 13-minute music video was downright audacious. And I’ll admit, I didn’t actually watch the Starcruiser video, I listened to it while driving to and from the city for a movie screening. But I do watch several actual-play D&D YouTube shows, which sometimes stretch past the four-hour mark. And back in the early aughts I’d happily sink endless hours into reading smart, well-written TV recaps that might as well have been novellas. Is there any substantive difference?\u003c/p>\n\u003cp>But I choose to be heartened by the rise of long-form video. Or more specifically: By the willingness of people to watch a single video for hours on end. It suggests that quality of work continues to matter — you do, after all, still have to earn all those extra minutes of our attention. And in a culture so quick to blame a raft of societal ills on shrinking attention spans, it offers a surprising and intriguing counter-narrative to the experts who cite audience data to dictate precisely how long a YouTube video, or a web article, or a podcast episode “should” be.\u003c/p>\n\u003cp>Turns out the answer isn’t quantitative, but qualitative — not precise length, but personal value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s ‘Pop Culture Happy Hour’ newsletter. Listen to ‘Pop Culture Happy Hour’ on Apple Podcasts and Spotify.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem",
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"content": "\u003cp>America does not care about women.\u003c/p>\n\u003cp>There. I said it. I say it a lot, actually. At least once a week for the last 29 years to be precise.\u003c/p>\n\u003cp>I know the exact date of the first time I said it — Oct. 3, 1995 — because that was the day that O.J. Simpson was acquitted of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman. O.J. was acquitted by a jury despite a mountain of DNA evidence against him and an extremely long, well-documented history of his abuse of Nicole. The images of her battered face and the sound of her shaking voice telling a 911 dispatcher “He’s going to beat the shit out of me” have been living rent-free in my head ever since. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>I was in my teens when the O.J. verdict happened. \u003ca href=\"https://vawnet.org/material/marital-rape-new-research-and-directions#:~:text=On%20July%205%2C%201993%2C%20marital,rape%20prosecution%20granted%20to%20husbands.\">Raping your spouse had only been declared illegal\u003c/a> in America two years earlier. At the time, I hoped that — if women banded together and worked hard enough — things would change in my lifetime.\u003c/p>\n\u003cp>Well, I’m middle-aged now. And nothing has changed at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“America does not care about women” were the first words I uttered this morning, this time prompted by the news that New York’s highest court just overturned Harvey Weinstein’s 2020 rape conviction. The ruling was based on the fact that “testimony of uncharged, alleged prior sexual acts against persons other than the complainants” was included in his original trial. That the inclusion of those witnesses — also known as “\u003ca href=\"https://www.npr.org/2020/01/29/800938076/how-the-molineux-rule-permits-certain-witnesses-in-the-harvey-weinstein-trial\">Molineux witnesses\u003c/a>” or “prior bad act witnesses” — has been perfectly legal in New York for well over a century appears to have been deemed irrelevant by four out of the seven judges on the New York Court of Appeals.\u003c/p>\n\u003cp>(Writing for the majority, Judge Jenny Rivera asserted that “The remedy for these egregious errors is a new trial.” Rivera, incidentally, was appointed to the court in 2013 by \u003ca href=\"https://www.politico.com/news/2024/01/26/cuomo-sexual-harassment-doj-00138140#:~:text=The%20justice%20department%20found%20Cuomo,harassed%2C%E2%80%9D%20the%20DOJ%20concluded.\">Andrew Cuomo, who has been accused of sexual harassment by 13 women\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13934462']The fact that the vast majority of Harvey Weinstein’s accusers — more than 80 of them — were prevented from taking legal action against him in 2020 because of unjustly short statutes of limitations doesn’t matter either. Because America doesn’t care about women.\u003c/p>\n\u003cp>In truth, even on the morning of his 2020 conviction, I still found myself uttering those words. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he had faced. The wave of relief that followed his two convictions was powerful enough to obscure the fact that he was found not guilty on three other charges.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “engag[ing] in sexual intercourse with another person by forcible compulsion.” This, despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges, testifying that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. But still, he was found not guilty.\u003c/p>\n\u003cp>Weinstein’s case, from the jump, reflected just how hard it is for women to get justice in this country. But we already knew, just as we had known in 1995, America does not care about women.\u003c/p>\n\u003cp>[aside postid='arts_13908728']We knew it in 2021, after \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\">Bill Cosby was released\u003c/a> from prison on a technicality. Specifically, Pennsylvania’s highest court decided it wasn’t fair that the prosecutor who brought the case against Cosby had a predecessor who had promised to not charge the comedian. That was apparently too much for the court. The idea that 60 women who’d been living with untold trauma and interrupted careers would receive no justice after sharing their harrowing (and very credible) stories about Cosby with the whole world? Meh. Who cares about that?\u003c/p>\n\u003cp>Justice, when it comes to women, sometimes feels almost impossible to come by in any court in the land. In 2004, Robert Blake was acquitted of murdering his wife Bonny Bakley, despite two separate witnesses testifying that Blake had attempted to hire them to kill her. Blake, like O.J. Simpson, was later found liable for the wrongful death of his wife in a $30 million civil trial; Blake handled this by declaring bankruptcy in 2006. Hell, if O.J. Simpson could get away with not paying the Brown and Goldman families, why should Blake cough up? Even in the wake of Simpson’s death, \u003ca href=\"https://www.hollywoodreporter.com/news/general-news/oj-simpsons-lawyer-reverses-statement-civil-judgement-goldman-family-1235874717/\">those handling his estate are fighting\u003c/a> to ensure those families will never see a penny.\u003c/p>\n\u003cp>In America’s so-called justice system, history repeats itself. We know the outcomes before they land: In 2018, we knew Brett Kavanaugh would make it onto the Supreme Court despite \u003ca href=\"https://www.npr.org/2024/03/19/1239378828/for-christine-blasey-ford-the-fallout-of-the-kavanaugh-hearing-is-ongoing\">Christine Blasey Ford’s testimony against him\u003c/a>. We knew because we’d already watched Clarence Thomas succeed after \u003ca href=\"https://www.npr.org/2021/09/28/1040911313/anita-hill-belonging-sexual-harassment-conversation\">Anita Hill testified against him\u003c/a> in 1991.\u003c/p>\n\u003cp>[aside postid='arts_13918217']We knew Donald Trump would be the Republican nominee in 2024, because the fact that he confessed on recorded audio to “grab[bing]” women “by the pussy” did not impact his election chances in 2016.\u003c/p>\n\u003cp>Was anyone really surprised when Ted Kennedy’s nephew William Kennedy Smith was found \u003ca href=\"https://www.vanityfair.com/magazine/1992/03/dunne199203\">not guilty of raping Patricia Bowman\u003c/a>? Despite the fact that his defense attorney married one of the jurors shortly after the trial? It’s impossible to feign shock once you remember that, in 1969, Uncle Ted got off with a two-month suspended sentence for driving Mary Jo Kopechne off a bridge, leaving her there to drown and then failing to report the accident for another 11 hours.\u003c/p>\n\u003cp>After the seismic #MeToo movement, despite the many conversations about cultural shifts and cancellations, the only two high-profile abusers punished in a court of law were Bill Cosby and Harvey Weinstein. Now one is free and the other is working on it. And while Weinstein is still serving the 16-year sentence for rape and sexual assault imposed by his 2023 trial in Los Angeles, it’s impossible to feel any confidence in the system at this point.\u003c/p>\n\u003cp>“Today’s decision reinforces what we already know,” Anita Hill said after this morning’s news broke. “We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.”\u003c/p>\n\u003cp>Founder of #MeToo Tarana Burke managed — somehow — to strike a more optimistic note. “Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other thing that hasn’t changed? America does not care about women.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America does not care about women.\u003c/p>\n\u003cp>There. I said it. I say it a lot, actually. At least once a week for the last 29 years to be precise.\u003c/p>\n\u003cp>I know the exact date of the first time I said it — Oct. 3, 1995 — because that was the day that O.J. Simpson was acquitted of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman. O.J. was acquitted by a jury despite a mountain of DNA evidence against him and an extremely long, well-documented history of his abuse of Nicole. The images of her battered face and the sound of her shaking voice telling a 911 dispatcher “He’s going to beat the shit out of me” have been living rent-free in my head ever since. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>I was in my teens when the O.J. verdict happened. \u003ca href=\"https://vawnet.org/material/marital-rape-new-research-and-directions#:~:text=On%20July%205%2C%201993%2C%20marital,rape%20prosecution%20granted%20to%20husbands.\">Raping your spouse had only been declared illegal\u003c/a> in America two years earlier. At the time, I hoped that — if women banded together and worked hard enough — things would change in my lifetime.\u003c/p>\n\u003cp>Well, I’m middle-aged now. And nothing has changed at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“America does not care about women” were the first words I uttered this morning, this time prompted by the news that New York’s highest court just overturned Harvey Weinstein’s 2020 rape conviction. The ruling was based on the fact that “testimony of uncharged, alleged prior sexual acts against persons other than the complainants” was included in his original trial. That the inclusion of those witnesses — also known as “\u003ca href=\"https://www.npr.org/2020/01/29/800938076/how-the-molineux-rule-permits-certain-witnesses-in-the-harvey-weinstein-trial\">Molineux witnesses\u003c/a>” or “prior bad act witnesses” — has been perfectly legal in New York for well over a century appears to have been deemed irrelevant by four out of the seven judges on the New York Court of Appeals.\u003c/p>\n\u003cp>(Writing for the majority, Judge Jenny Rivera asserted that “The remedy for these egregious errors is a new trial.” Rivera, incidentally, was appointed to the court in 2013 by \u003ca href=\"https://www.politico.com/news/2024/01/26/cuomo-sexual-harassment-doj-00138140#:~:text=The%20justice%20department%20found%20Cuomo,harassed%2C%E2%80%9D%20the%20DOJ%20concluded.\">Andrew Cuomo, who has been accused of sexual harassment by 13 women\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The fact that the vast majority of Harvey Weinstein’s accusers — more than 80 of them — were prevented from taking legal action against him in 2020 because of unjustly short statutes of limitations doesn’t matter either. Because America doesn’t care about women.\u003c/p>\n\u003cp>In truth, even on the morning of his 2020 conviction, I still found myself uttering those words. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he had faced. The wave of relief that followed his two convictions was powerful enough to obscure the fact that he was found not guilty on three other charges.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “engag[ing] in sexual intercourse with another person by forcible compulsion.” This, despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges, testifying that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. But still, he was found not guilty.\u003c/p>\n\u003cp>Weinstein’s case, from the jump, reflected just how hard it is for women to get justice in this country. But we already knew, just as we had known in 1995, America does not care about women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We knew it in 2021, after \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\">Bill Cosby was released\u003c/a> from prison on a technicality. Specifically, Pennsylvania’s highest court decided it wasn’t fair that the prosecutor who brought the case against Cosby had a predecessor who had promised to not charge the comedian. That was apparently too much for the court. The idea that 60 women who’d been living with untold trauma and interrupted careers would receive no justice after sharing their harrowing (and very credible) stories about Cosby with the whole world? Meh. Who cares about that?\u003c/p>\n\u003cp>Justice, when it comes to women, sometimes feels almost impossible to come by in any court in the land. In 2004, Robert Blake was acquitted of murdering his wife Bonny Bakley, despite two separate witnesses testifying that Blake had attempted to hire them to kill her. Blake, like O.J. Simpson, was later found liable for the wrongful death of his wife in a $30 million civil trial; Blake handled this by declaring bankruptcy in 2006. Hell, if O.J. Simpson could get away with not paying the Brown and Goldman families, why should Blake cough up? Even in the wake of Simpson’s death, \u003ca href=\"https://www.hollywoodreporter.com/news/general-news/oj-simpsons-lawyer-reverses-statement-civil-judgement-goldman-family-1235874717/\">those handling his estate are fighting\u003c/a> to ensure those families will never see a penny.\u003c/p>\n\u003cp>In America’s so-called justice system, history repeats itself. We know the outcomes before they land: In 2018, we knew Brett Kavanaugh would make it onto the Supreme Court despite \u003ca href=\"https://www.npr.org/2024/03/19/1239378828/for-christine-blasey-ford-the-fallout-of-the-kavanaugh-hearing-is-ongoing\">Christine Blasey Ford’s testimony against him\u003c/a>. We knew because we’d already watched Clarence Thomas succeed after \u003ca href=\"https://www.npr.org/2021/09/28/1040911313/anita-hill-belonging-sexual-harassment-conversation\">Anita Hill testified against him\u003c/a> in 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We knew Donald Trump would be the Republican nominee in 2024, because the fact that he confessed on recorded audio to “grab[bing]” women “by the pussy” did not impact his election chances in 2016.\u003c/p>\n\u003cp>Was anyone really surprised when Ted Kennedy’s nephew William Kennedy Smith was found \u003ca href=\"https://www.vanityfair.com/magazine/1992/03/dunne199203\">not guilty of raping Patricia Bowman\u003c/a>? Despite the fact that his defense attorney married one of the jurors shortly after the trial? It’s impossible to feign shock once you remember that, in 1969, Uncle Ted got off with a two-month suspended sentence for driving Mary Jo Kopechne off a bridge, leaving her there to drown and then failing to report the accident for another 11 hours.\u003c/p>\n\u003cp>After the seismic #MeToo movement, despite the many conversations about cultural shifts and cancellations, the only two high-profile abusers punished in a court of law were Bill Cosby and Harvey Weinstein. Now one is free and the other is working on it. And while Weinstein is still serving the 16-year sentence for rape and sexual assault imposed by his 2023 trial in Los Angeles, it’s impossible to feel any confidence in the system at this point.\u003c/p>\n\u003cp>“Today’s decision reinforces what we already know,” Anita Hill said after this morning’s news broke. “We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.”\u003c/p>\n\u003cp>Founder of #MeToo Tarana Burke managed — somehow — to strike a more optimistic note. “Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A dog’s plaintive wail. A courtroom couplet-turned-cultural catchphrase about gloves. A judge and attorneys who became media darlings and villains. A slightly bewildered houseguest elevated, briefly, into a slightly bewildered celebrity. Troubling questions about race that echo still. The beginning of the Kardashian dynasty. An epic slow-motion highway chase. And, lest we forget, \u003ca href=\"https://www.kqed.org/pop/112365/everything-weve-learned-so-far-from-kim-goldmans-oj-simpson-podcast\">two people whose lives ended brutally\u003c/a>.\u003c/p>\n\u003cp>And a nation watched — a nation far different than today’s, where the ravenousness for reality television has multiplied. The spectator mentality of those jumbled days in 1994 and 1995, then novel, has since become an intrinsic part of the American fabric. Smack at the center of the national conversation was O.J. Simpson, one of the most curious cultural figures of recent U.S. history.\u003c/p>\n\u003cp>[aside postid='news_11982639']Simpson’s death Wednesday, almost exactly three decades after the killings that changed his reputation from football hero to suspect, summoned remembrances of an odd moment in time — no, let’s call it what it was, which was deeply weird — in which a smartphone-less country craned its neck toward clunky TVs to watch a Ford Bronco inch its way along a California freeway.\u003c/p>\n\u003cp>“It was an incredible moment in American history,” said Wolf Blitzer, anchoring coverage of Simpson’s death Thursday on CNN. What made it so — beyond, of course, tabloid culture and the fundamental news value of such a famous person accused in such brutal killings?\u003c/p>\n\u003cfigure id=\"attachment_13955855\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1221630947-scaled-e1712876528807.jpg\" alt=\"A photo of a tv screen showing cars lined up on a freeway. The caption says "ABC News Live Coverage. OJ Simpson's car."\" width=\"1920\" height=\"1293\">\u003cfigcaption class=\"wp-caption-text\">The infamous white Ford Bronco crawling along the freeway in 1994. \u003ccite>(Rick Maiman/ Sygma via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The saga anticipated 21st century media\u003c/h2>\n\u003cp>In an era when the internet as we know it was still being born, when “platform” was still just a place to board a train, Simpson was a unique breed of celebrity. He was truly transmedia, a harbinger of the digital age — a walking, talking crossover story for multiple audiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was sports — the very pinnacle of football excellence. He was stardom, not only for his athletic prowess but for his Hertz-hawking run through airports on TV and his acting in movies like \u003cem>The Naked Gun\u003c/em>. He embodied societal questions about race, class and money long before Nicole Brown Simpson and Ronald Goldman were stabbed to death on June 12, 1994.\u003c/p>\n\u003cp>Then came the saga, beginning with the killings and ending — only technically — in a Los Angeles courtroom more than a year later. The most epic of American novels had nothing on this period of the mid-1990s. Americans watched. Americans talked about watching. Americans debated. Americans judged. And Americans watched some more.\u003c/p>\n\u003cp>The generations-old chasm between white Americans and Black Americans was not helped by \u003cem>Time\u003c/em> magazine’s decision to tactically darken Simpson’s mugshot on its cover for dramatic — and, many said, racist — effect. For those who lived through that period, it’s hard to remember much in the public sphere that wasn’t crowded out by the O.J. storyline and its many components, including the subsequent civil trial that found Simpson liable for the deaths. One newspaper even ran a series of possible endings to the storyline, written by mystery novelists.\u003c/p>\n\u003cp>Sure, people were saying different things. But it was, inarguably, a national conversation.\u003c/p>\n\u003cfigure id=\"attachment_13955856\" class=\"wp-caption aligncenter\" style=\"max-width: 1988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg\" alt=\"A man in a shirt and tie talks on a 1990s-era phone while standing in front of a wall of televisions all showing the trial of OJ Simpson.\" width=\"1988\" height=\"1358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg 1988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1920x1312.jpg 1920w\" sizes=\"(max-width: 1988px) 100vw, 1988px\">\u003cfigcaption class=\"wp-caption-text\">Salesman Neal McCarthy speaks to a customer on the phone, as the O.J. Simpson murder trial is tuned to most of his store’s TVs. \u003ccite>(Pat Greenhouse/ The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nation — and its media — are far more fragmented now. Rarely these days do Americans gather around the virtual campfire for a common experience; instead, small brush fires draw niche crowds in virtual corners for equally intense, but smaller, common experiences. This week’s eclipse was a rare exception.\u003c/p>\n\u003cp>In 1994, everyday real-time, wall-to-wall coverage was still emerging. Sure, we had Walter Cronkite during the Kennedy assassination and again during the chaotic 1968 Democratic National Convention. And the first Gulf War in 1991 firmly cemented live-TV expectations. But coverage of the Bronco chase and the trial fed the appetite in a way no other event did. Even now, such universal viewership is rare.\u003c/p>\n\u003cp>[aside postid='pop_112365']“The media we consume is much more diffuse now. It’s so rare that we’re all glued to the same spectacle,” said Danielle Lindemann, author of the 2022 book \u003cem>True Story: What Reality TV Says About Us\u003c/em>.\u003c/p>\n\u003cp>“In 1994 we were watching our television sets and following along with news coverage,” Lindemann, a professor of sociology at Lehigh University, said in an email. “But there wasn’t that parallel discourse happening via social media.”\u003c/p>\n\u003ch2>Connections between then and now\u003c/h2>\n\u003cp>The connections between the Simpson saga and today aren’t hard to find.\u003c/p>\n\u003cp>Judges and lawyers in high-profile cases are now regular fodder for the spotlight. One of Simpson’s attorneys, Robert Kardashian, paved the way for the next generation of his family to change the very face of how celebrity operates. A local Los Angeles TV reporter who covered the case, Harvey Levin, went on to establish TMZ, a luridly foundational pillar of modern multiplatform celebrity coverage — and the outlet that broke the news of Simpson’s death.\u003c/p>\n\u003cp>And of course, as with so many American stories, there is the question of race.\u003c/p>\n\u003cfigure id=\"attachment_13955857\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-600007422-scaled-e1712876970949.jpg\" alt='A Black man crouches next to a line of t shirts and hats for sale. All say \"Free OJ\" on them.' width=\"1920\" height=\"1289\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson shirt and support mechandising outside the courthouse, during his trial in Los Angeles. \u003ccite>(Evan Hurd/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simpson’s acquittal on murder charges revealed a fundamental fault line: Some Black people welcomed the verdict, while many white people were in disbelief. Simpson probably confused matters more over the years by saying, famously, “I’m not Black. I’m O.J.” But for many Black Americans who felt their interactions with police and the courts had produced unjust results, the acquittal was a notable exception.\u003c/p>\n\u003cp>“There was a sense that it’s only justice for a rich Black man to get off when a rich white man would,” said John Baick, a professor of history at Western New England University.\u003c/p>\n\u003cp>Three decades on, that conversation isn’t over — he’s certainly still discussing it with students. On Thursday, Baick invoked Simpson to talk about race, fame and wealth in class; only after it ended did he find out his subject had died.\u003c/p>\n\u003cp>[aside postid='arts_11665308']A generation has passed since these events were fresh. And after thousands of hours of video, millions of written words and countless talking heads weighing in, the O.J. Simpson case stands as two things: an American moment like no other, and an interlude that contained so much of what American culture is and was becoming.\u003c/p>\n\u003cp>From the old, weird America, it got the obsession with violent true crime and its quirky cast of film noir villains and heroes, not to mention the tragedy and the whodunit. And it was a teaser trailer of the emerging, fragmenting internet culture that would, in a few years, give us smartphones, social media, reality-TV saturation and live coverage of just about everything.\u003c/p>\n\u003cp>Was it, as so many said so loudly, “the trial of the century”? That’s subjective. But any culture is made up of small bits, and the Simpson case left many of those in its wake. This much is incontrovertibly true: After the slow-speed chase, American media culture got a whole lot faster really quickly. So fast, in fact, that many of the central questions around the case — about race, justice and how we consume murder and misery as just another set of consumer products — linger unanswered.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Where does this fit in? What do Americans think about this now?” Baick wonders. ”What you think about O.J. Simpson might be a litmus test for a long time still.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A dog’s plaintive wail. A courtroom couplet-turned-cultural catchphrase about gloves. A judge and attorneys who became media darlings and villains. A slightly bewildered houseguest elevated, briefly, into a slightly bewildered celebrity. Troubling questions about race that echo still. The beginning of the Kardashian dynasty. An epic slow-motion highway chase. And, lest we forget, \u003ca href=\"https://www.kqed.org/pop/112365/everything-weve-learned-so-far-from-kim-goldmans-oj-simpson-podcast\">two people whose lives ended brutally\u003c/a>.\u003c/p>\n\u003cp>And a nation watched — a nation far different than today’s, where the ravenousness for reality television has multiplied. The spectator mentality of those jumbled days in 1994 and 1995, then novel, has since become an intrinsic part of the American fabric. Smack at the center of the national conversation was O.J. Simpson, one of the most curious cultural figures of recent U.S. history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Simpson’s death Wednesday, almost exactly three decades after the killings that changed his reputation from football hero to suspect, summoned remembrances of an odd moment in time — no, let’s call it what it was, which was deeply weird — in which a smartphone-less country craned its neck toward clunky TVs to watch a Ford Bronco inch its way along a California freeway.\u003c/p>\n\u003cp>“It was an incredible moment in American history,” said Wolf Blitzer, anchoring coverage of Simpson’s death Thursday on CNN. What made it so — beyond, of course, tabloid culture and the fundamental news value of such a famous person accused in such brutal killings?\u003c/p>\n\u003cfigure id=\"attachment_13955855\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1221630947-scaled-e1712876528807.jpg\" alt=\"A photo of a tv screen showing cars lined up on a freeway. The caption says "ABC News Live Coverage. OJ Simpson's car."\" width=\"1920\" height=\"1293\">\u003cfigcaption class=\"wp-caption-text\">The infamous white Ford Bronco crawling along the freeway in 1994. \u003ccite>(Rick Maiman/ Sygma via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The saga anticipated 21st century media\u003c/h2>\n\u003cp>In an era when the internet as we know it was still being born, when “platform” was still just a place to board a train, Simpson was a unique breed of celebrity. He was truly transmedia, a harbinger of the digital age — a walking, talking crossover story for multiple audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was sports — the very pinnacle of football excellence. He was stardom, not only for his athletic prowess but for his Hertz-hawking run through airports on TV and his acting in movies like \u003cem>The Naked Gun\u003c/em>. He embodied societal questions about race, class and money long before Nicole Brown Simpson and Ronald Goldman were stabbed to death on June 12, 1994.\u003c/p>\n\u003cp>Then came the saga, beginning with the killings and ending — only technically — in a Los Angeles courtroom more than a year later. The most epic of American novels had nothing on this period of the mid-1990s. Americans watched. Americans talked about watching. Americans debated. Americans judged. And Americans watched some more.\u003c/p>\n\u003cp>The generations-old chasm between white Americans and Black Americans was not helped by \u003cem>Time\u003c/em> magazine’s decision to tactically darken Simpson’s mugshot on its cover for dramatic — and, many said, racist — effect. For those who lived through that period, it’s hard to remember much in the public sphere that wasn’t crowded out by the O.J. storyline and its many components, including the subsequent civil trial that found Simpson liable for the deaths. One newspaper even ran a series of possible endings to the storyline, written by mystery novelists.\u003c/p>\n\u003cp>Sure, people were saying different things. But it was, inarguably, a national conversation.\u003c/p>\n\u003cfigure id=\"attachment_13955856\" class=\"wp-caption aligncenter\" style=\"max-width: 1988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg\" alt=\"A man in a shirt and tie talks on a 1990s-era phone while standing in front of a wall of televisions all showing the trial of OJ Simpson.\" width=\"1988\" height=\"1358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg 1988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1920x1312.jpg 1920w\" sizes=\"(max-width: 1988px) 100vw, 1988px\">\u003cfigcaption class=\"wp-caption-text\">Salesman Neal McCarthy speaks to a customer on the phone, as the O.J. Simpson murder trial is tuned to most of his store’s TVs. \u003ccite>(Pat Greenhouse/ The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nation — and its media — are far more fragmented now. Rarely these days do Americans gather around the virtual campfire for a common experience; instead, small brush fires draw niche crowds in virtual corners for equally intense, but smaller, common experiences. This week’s eclipse was a rare exception.\u003c/p>\n\u003cp>In 1994, everyday real-time, wall-to-wall coverage was still emerging. Sure, we had Walter Cronkite during the Kennedy assassination and again during the chaotic 1968 Democratic National Convention. And the first Gulf War in 1991 firmly cemented live-TV expectations. But coverage of the Bronco chase and the trial fed the appetite in a way no other event did. Even now, such universal viewership is rare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The media we consume is much more diffuse now. It’s so rare that we’re all glued to the same spectacle,” said Danielle Lindemann, author of the 2022 book \u003cem>True Story: What Reality TV Says About Us\u003c/em>.\u003c/p>\n\u003cp>“In 1994 we were watching our television sets and following along with news coverage,” Lindemann, a professor of sociology at Lehigh University, said in an email. “But there wasn’t that parallel discourse happening via social media.”\u003c/p>\n\u003ch2>Connections between then and now\u003c/h2>\n\u003cp>The connections between the Simpson saga and today aren’t hard to find.\u003c/p>\n\u003cp>Judges and lawyers in high-profile cases are now regular fodder for the spotlight. One of Simpson’s attorneys, Robert Kardashian, paved the way for the next generation of his family to change the very face of how celebrity operates. A local Los Angeles TV reporter who covered the case, Harvey Levin, went on to establish TMZ, a luridly foundational pillar of modern multiplatform celebrity coverage — and the outlet that broke the news of Simpson’s death.\u003c/p>\n\u003cp>And of course, as with so many American stories, there is the question of race.\u003c/p>\n\u003cfigure id=\"attachment_13955857\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-600007422-scaled-e1712876970949.jpg\" alt='A Black man crouches next to a line of t shirts and hats for sale. All say \"Free OJ\" on them.' width=\"1920\" height=\"1289\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson shirt and support mechandising outside the courthouse, during his trial in Los Angeles. \u003ccite>(Evan Hurd/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simpson’s acquittal on murder charges revealed a fundamental fault line: Some Black people welcomed the verdict, while many white people were in disbelief. Simpson probably confused matters more over the years by saying, famously, “I’m not Black. I’m O.J.” But for many Black Americans who felt their interactions with police and the courts had produced unjust results, the acquittal was a notable exception.\u003c/p>\n\u003cp>“There was a sense that it’s only justice for a rich Black man to get off when a rich white man would,” said John Baick, a professor of history at Western New England University.\u003c/p>\n\u003cp>Three decades on, that conversation isn’t over — he’s certainly still discussing it with students. On Thursday, Baick invoked Simpson to talk about race, fame and wealth in class; only after it ended did he find out his subject had died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A generation has passed since these events were fresh. And after thousands of hours of video, millions of written words and countless talking heads weighing in, the O.J. Simpson case stands as two things: an American moment like no other, and an interlude that contained so much of what American culture is and was becoming.\u003c/p>\n\u003cp>From the old, weird America, it got the obsession with violent true crime and its quirky cast of film noir villains and heroes, not to mention the tragedy and the whodunit. And it was a teaser trailer of the emerging, fragmenting internet culture that would, in a few years, give us smartphones, social media, reality-TV saturation and live coverage of just about everything.\u003c/p>\n\u003cp>Was it, as so many said so loudly, “the trial of the century”? That’s subjective. But any culture is made up of small bits, and the Simpson case left many of those in its wake. This much is incontrovertibly true: After the slow-speed chase, American media culture got a whole lot faster really quickly. So fast, in fact, that many of the central questions around the case — about race, justice and how we consume murder and misery as just another set of consumer products — linger unanswered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Where does this fit in? What do Americans think about this now?” Baick wonders. ”What you think about O.J. Simpson might be a litmus test for a long time still.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What the Royal Family Doesn’t Understand About PR in 2024",
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"content": "\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>[aside postid='pop_103656']“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>[aside postid='arts_13866072']It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\n\u003cp>https://twitter.com/KensingtonRoyal/status/1767135566645092616\u003c/p>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\n\u003cp>https://twitter.com/royalrota/status/1767207738990301243\u003c/p>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards",
"headTitle": "Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards | KQED",
"content": "\u003cp>The Academy Awards honor many things in movies but not some of the most important. Ahead of Sunday’s Oscars, Associated Press film writers Lindsey Bahr and Jake Coyle make selections for their own awards — some more offbeat than others.\u003c/p>\n\u003ch2>Best Actually Supporting Performance: Cory Michael Smith, ‘May December’\u003c/h2>\n\u003cp>Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>. With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953431\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png\" alt=\"A nervous looking woman sits on a bench, hands clasped in her lap, next to a younger man who is sitting casually with his legs crossed.\" width=\"1276\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-1020x713.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-768x537.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Cory Michael Smith in a scene from ‘May December.’ \u003ccite>(François Duhamel/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Hairstyle: Gwen’s upside-down ponytail, ‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees. But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953432\" class=\"wp-caption aligncenter\" style=\"max-width: 1168px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png\" alt=\"An illustration of two small figures sitting on a bench. In the distance, a city skyline can be seen upside down.\" width=\"1168\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png 1168w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-768x463.png 768w\" sizes=\"(max-width: 1168px) 100vw, 1168px\">\u003cfigcaption class=\"wp-caption-text\">Miles Morales as Spider-Man and Spider-Gwen in a scene from Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’ \u003ccite>(Sony Pictures Animation via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Duo Act: Jeffrey Wright and John Ortiz, ‘American Fiction’\u003c/h2>\n\u003cp>As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953433\" class=\"wp-caption aligncenter\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png\" alt=\"A Black man in a polo shirt and a Latino man in a shirt and tie both peer down at a desk looking concerned.\" width=\"1206\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-1020x665.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-768x501.png 768w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright and John Ortiz in a scene from ‘American Fiction.’ \u003ccite>(MGM via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Cameo: Margot Robbie, ‘Asteroid City’\u003c/h2>\n\u003cp>Wes Anderson’s \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short). One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time. She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect. — L.B.\u003c/p>\n\u003ch2>Best Face: Willem Dafoe, ‘Poor Things’\u003c/h2>\n\u003cp>Willem Dafoe’s face is already a work of art, but\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem> Poor Things\u003c/em>\u003c/a> turns it into a Munch-esque masterpiece. His scarred Dr. Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953434\" class=\"wp-caption aligncenter\" style=\"max-width: 1270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png\" alt=\"A disfigured man sits at a dining table next to a contraption made of glass bottles and tubes.\" width=\"1270\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-768x472.png 768w\" sizes=\"(max-width: 1270px) 100vw, 1270px\">\u003cfigcaption class=\"wp-caption-text\">Willem Dafoe in a scene from ‘Poor Things.’ \u003ccite>(Atsushi Nishijima/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Stunts: ‘Mission: Impossible: Dead Reckoning — Part One’\u003c/h2>\n\u003cp>It remains wild that the film academy still doesn’t recognize stunts, but we can here. \u003cem>Mission: Impossible – Dead Reckoning\u003c/em> isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953435\" class=\"wp-caption aligncenter\" style=\"max-width: 1138px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953435\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png\" alt=\"A man flies through the air in a horizontal position, a motorbike if falling vertically underneath him.\" width=\"1138\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-768x510.png 768w\" sizes=\"(max-width: 1138px) 100vw, 1138px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cruise in a scene from ‘Mission: Impossible — Dead Reckoning, Part One.’ \u003ccite>(Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of Earth Wind and Fire’s ‘September’: ‘Robot Dreams’\u003c/h2>\n\u003cp>“September” has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee \u003cem>Robot Dreams\u003c/em> uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of “September” has never been more moving. It sends you out of the theater humming “The bell was ringin’, oh, oh / Our souls were singin’.” — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953436\" class=\"wp-caption aligncenter\" style=\"max-width: 956px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png\" alt=\"A robot and a dog stand in front of a hotdog cart at a park, holding hot dogs.\" width=\"956\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-768x548.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Robot Dreams.’ \u003ccite>(Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Stylish: ‘Priscilla’\u003c/h2>\n\u003cp>This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration. The thoughtful style of \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Sofia Coppola’s film\u003c/a> helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realization that it is also a nightmare. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953437\" class=\"wp-caption aligncenter\" style=\"max-width: 1262px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png\" alt=\"A 1960s bride and groom stand before a tiered wedding cake in front of an arch made of white roses. \" width=\"1262\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-768x515.png 768w\" sizes=\"(max-width: 1262px) 100vw, 1262px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny and Jacob Elordi in a scene from ‘Priscilla.’ \u003ccite>(Philippe Le Sourd/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Scene: The Trinity Test, ‘Oppenheimer’\u003c/h2>\n\u003cp>I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations. It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience. Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of \u003ca href=\"https://www.kqed.org/arts/13932204/oppenheimer-japanese-erasure\">\u003cem>Oppenheimer\u003c/em>\u003c/a>. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953438\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png\" alt=\"A white man sits, wearing goggles in front of a small window. His face is lit up in bright light.\" width=\"1278\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-768x535.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in a scene from ‘Oppenheimer.’ \u003ccite>(Universal Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Dream Ballet: ‘Barbie’\u003c/h2>\n\u003cp>Last year had so much great dancing, from the sweaty club scenes in \u003cem>Passages\u003c/em>, to the wedding line dance in \u003cem>The Iron Claw\u003c/em>, Jeff’s silly moves in \u003ca href=\"https://www.kqed.org/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy\">\u003cem>Bottoms\u003c/em>\u003c/a>, Bella Baxter’s broken doll euphoria in \u003cem>Poor Things\u003c/em>, \u003cem>M3GAN\u003c/em>’s boogie and, of course, the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a>. But the trophy goes to Greta Gerwig’s euphoric “I’m Just Ken” dream ballet, a sequence she fought to keep in that is also the \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">best in the film\u003c/a>. — L.B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VDCnJHyMuyU\u003c/p>\n\u003ch2>Best Fight: Julia Louis-Dreyfus and Tobias Menzies, ‘You Hurt My Feelings’\u003c/h2>\n\u003cp>Sure, you could pick more violent encounters. But is there possibly anything more ferociously rock ’em-sock ’em than an author overhearing her husband say he doesn’t like her latest book? In Nicole Holofcener’s \u003cem>You Hurt My Feelings\u003c/em>, it’s the opening salvo in a painfully, hysterically acute examination of honesty in relationships. Not, I repeat not, a date movie. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953440\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png\" alt=\"A white man and a white woman stand in a living room, facing forward and looking stunned.\" width=\"1198\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-1020x637.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-768x480.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">Tobias Menzies and Julia Louis-Dreyfus in a scene from ‘You Hurt My Feelings.’ \u003ccite>(Jeong Park/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of a Preexisting Song: ‘Silver Joy’ by Damien Jurado, ‘The Holdovers’\u003c/h2>\n\u003cp>I think the original song category needs an overhaul. For years, movies have helped introduce me to songs that exist that I might have missed, that become immediate favorites because of the emotional association with a movie. Selecting the right existing song is such an art and one last year stood out over all the rest: Damien Jurado’s “Silver Joy” in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>. — L.B.\u003c/p>\n\u003ch2>Best Hat: Michael Fassbender’s bucket hat, ‘The Killer’\u003c/h2>\n\u003cp>Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of \u003cem>Le Samouraï.\u003c/em> The assassin of David Fincher’s \u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">\u003cem>The Killer\u003c/em>\u003c/a>, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer. That’s much the point for a movie about murder in increasingly anonymous times. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13937722\" class=\"wp-caption aligncenter\" style=\"max-width: 1584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png\" alt=\"A white man wearing leisure wear including white pants and a beige sun hat sits on a bench, looking relaxed.\" width=\"1584\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png 1584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-800x574.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1020x732.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-768x551.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1536x1102.png 1536w\" sizes=\"(max-width: 1584px) 100vw, 1584px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender stars in ‘The Killer.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best One-Scene Performance: Audra McDonald, ‘Origin’\u003c/h2>\n\u003cp>In Ava DuVernay’s too-overlooked \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, much of the film’s sense of humanity comes from the rich presences of the actors who float in and out of the movie. Not just the stellar lead, Aunjanue Ellis-Taylor, but a number of performers — including Jon Bernthal, Emily Yancy and Nick Offerman — add to the nuance of \u003cem>Origin\u003c/em>. That’s especially true of Audra McDonald, who turns up for just one scene that may be the most potent of the film. McDonald plays a woman named Miss Hale, and her story of how she got that name is a delicate powerhouse. — J.C.\u003c/p>\n\u003ch2>Most Romantic: ‘The Taste of Things’\u003c/h2>\n\u003cp>There are not many truly romantic films made for big audiences these days. Sure there’s the odd rom-com here and there, but sweeping, luscious, capital R romances are few and far between and rarely celebrated at awards season (yes, I’m still thinking about Joe Wright’s \u003cem>Cyrano\u003c/em>). This season, that title went to \u003ca href=\"https://www.kqed.org/arts/13951896/the-taste-of-things-juliette-binoche-food-movie-review\">\u003cem>The Taste of Things\u003c/em>\u003c/a>, which doesn’t have an ounce of cynicism, just pure love. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953441\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png\" alt=\"A woman and man stand close together next to a stove pouring one pan into another.\" width=\"1274\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-768x510.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche and Benoît Magimel in a scene from ‘The Taste of Things.’ \u003ccite>(Stéphanie Branchu/ IFC Films via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best NFL Player Performance: Marshawn Lynch, ‘Bottoms’\u003c/h2>\n\u003cp>With exactly zero apologies to \u003cem>80 for Brady\u003c/em> (Jets fan here), no former footballer made more of a big-screen impression than Marshawn Lynch, the former elite running back known as “Beast Mode.” In Emma Seligman’s raunchy lesbian teen comedy \u003cem>Bottoms\u003c/em>, Lynch turns up as a high school teacher and is quite funny acting opposite Rachel Sennott and Ayo Edebiri. The role also has poignance. Lynch has said he did it to help make up for how he handled his sister, Marreesha Sapp-Lynch, coming out in high school. — J.C.\u003c/p>\n\u003ch2>Best Dog Not Named Snoop: Chaplin, ‘Fallen Leaves’\u003c/h2>\n\u003cp>Snoop, the all-seeing dog in the best picture nominee \u003cem>Anatomy of a Fall\u003c/em>, has really hogged the pooch spotlight. Messi, the dog who plays Snoop, has been all over the place, including the film academy luncheon. But it’s time his reign of terror came to end. In Aki Kaurismäki’s \u003cem>Fallen Leaves\u003c/em>, my favorite film of 2023, a pair of loners find nourishing points of connection in a cruel and grim world: the movies, karaoke and a dog named Chaplin. The dog, named Alma in real life, is Kaurismäki’s own mutt, and deserves a few bones thrown her way, too. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953442\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png\" alt=\"A woman sits in a waiting room with one arm around a small dog.\" width=\"1266\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-768x523.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Alma Pöysti and Alma the dog in a scene from ‘Fallen Leaves.’ \u003ccite>(MUBI via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Academy Awards honor many things in movies but not some of the most important. Ahead of Sunday’s Oscars, Associated Press film writers Lindsey Bahr and Jake Coyle make selections for their own awards — some more offbeat than others.\u003c/p>\n\u003ch2>Best Actually Supporting Performance: Cory Michael Smith, ‘May December’\u003c/h2>\n\u003cp>Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>. With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953431\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png\" alt=\"A nervous looking woman sits on a bench, hands clasped in her lap, next to a younger man who is sitting casually with his legs crossed.\" width=\"1276\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-1020x713.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-768x537.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Cory Michael Smith in a scene from ‘May December.’ \u003ccite>(François Duhamel/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Hairstyle: Gwen’s upside-down ponytail, ‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees. But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953432\" class=\"wp-caption aligncenter\" style=\"max-width: 1168px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png\" alt=\"An illustration of two small figures sitting on a bench. In the distance, a city skyline can be seen upside down.\" width=\"1168\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png 1168w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-768x463.png 768w\" sizes=\"(max-width: 1168px) 100vw, 1168px\">\u003cfigcaption class=\"wp-caption-text\">Miles Morales as Spider-Man and Spider-Gwen in a scene from Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’ \u003ccite>(Sony Pictures Animation via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Duo Act: Jeffrey Wright and John Ortiz, ‘American Fiction’\u003c/h2>\n\u003cp>As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953433\" class=\"wp-caption aligncenter\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png\" alt=\"A Black man in a polo shirt and a Latino man in a shirt and tie both peer down at a desk looking concerned.\" width=\"1206\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-1020x665.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-768x501.png 768w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright and John Ortiz in a scene from ‘American Fiction.’ \u003ccite>(MGM via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Cameo: Margot Robbie, ‘Asteroid City’\u003c/h2>\n\u003cp>Wes Anderson’s \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short). One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time. She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect. — L.B.\u003c/p>\n\u003ch2>Best Face: Willem Dafoe, ‘Poor Things’\u003c/h2>\n\u003cp>Willem Dafoe’s face is already a work of art, but\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem> Poor Things\u003c/em>\u003c/a> turns it into a Munch-esque masterpiece. His scarred Dr. Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953434\" class=\"wp-caption aligncenter\" style=\"max-width: 1270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png\" alt=\"A disfigured man sits at a dining table next to a contraption made of glass bottles and tubes.\" width=\"1270\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-768x472.png 768w\" sizes=\"(max-width: 1270px) 100vw, 1270px\">\u003cfigcaption class=\"wp-caption-text\">Willem Dafoe in a scene from ‘Poor Things.’ \u003ccite>(Atsushi Nishijima/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Stunts: ‘Mission: Impossible: Dead Reckoning — Part One’\u003c/h2>\n\u003cp>It remains wild that the film academy still doesn’t recognize stunts, but we can here. \u003cem>Mission: Impossible – Dead Reckoning\u003c/em> isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953435\" class=\"wp-caption aligncenter\" style=\"max-width: 1138px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953435\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png\" alt=\"A man flies through the air in a horizontal position, a motorbike if falling vertically underneath him.\" width=\"1138\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-768x510.png 768w\" sizes=\"(max-width: 1138px) 100vw, 1138px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cruise in a scene from ‘Mission: Impossible — Dead Reckoning, Part One.’ \u003ccite>(Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of Earth Wind and Fire’s ‘September’: ‘Robot Dreams’\u003c/h2>\n\u003cp>“September” has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee \u003cem>Robot Dreams\u003c/em> uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of “September” has never been more moving. It sends you out of the theater humming “The bell was ringin’, oh, oh / Our souls were singin’.” — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953436\" class=\"wp-caption aligncenter\" style=\"max-width: 956px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png\" alt=\"A robot and a dog stand in front of a hotdog cart at a park, holding hot dogs.\" width=\"956\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-768x548.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Robot Dreams.’ \u003ccite>(Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Stylish: ‘Priscilla’\u003c/h2>\n\u003cp>This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration. The thoughtful style of \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Sofia Coppola’s film\u003c/a> helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realization that it is also a nightmare. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953437\" class=\"wp-caption aligncenter\" style=\"max-width: 1262px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png\" alt=\"A 1960s bride and groom stand before a tiered wedding cake in front of an arch made of white roses. \" width=\"1262\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-768x515.png 768w\" sizes=\"(max-width: 1262px) 100vw, 1262px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny and Jacob Elordi in a scene from ‘Priscilla.’ \u003ccite>(Philippe Le Sourd/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Scene: The Trinity Test, ‘Oppenheimer’\u003c/h2>\n\u003cp>I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations. It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience. Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of \u003ca href=\"https://www.kqed.org/arts/13932204/oppenheimer-japanese-erasure\">\u003cem>Oppenheimer\u003c/em>\u003c/a>. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953438\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png\" alt=\"A white man sits, wearing goggles in front of a small window. His face is lit up in bright light.\" width=\"1278\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-768x535.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in a scene from ‘Oppenheimer.’ \u003ccite>(Universal Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Dream Ballet: ‘Barbie’\u003c/h2>\n\u003cp>Last year had so much great dancing, from the sweaty club scenes in \u003cem>Passages\u003c/em>, to the wedding line dance in \u003cem>The Iron Claw\u003c/em>, Jeff’s silly moves in \u003ca href=\"https://www.kqed.org/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy\">\u003cem>Bottoms\u003c/em>\u003c/a>, Bella Baxter’s broken doll euphoria in \u003cem>Poor Things\u003c/em>, \u003cem>M3GAN\u003c/em>’s boogie and, of course, the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a>. But the trophy goes to Greta Gerwig’s euphoric “I’m Just Ken” dream ballet, a sequence she fought to keep in that is also the \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">best in the film\u003c/a>. — L.B.\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/VDCnJHyMuyU'\n title='//www.youtube.com/embed/VDCnJHyMuyU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Best Fight: Julia Louis-Dreyfus and Tobias Menzies, ‘You Hurt My Feelings’\u003c/h2>\n\u003cp>Sure, you could pick more violent encounters. But is there possibly anything more ferociously rock ’em-sock ’em than an author overhearing her husband say he doesn’t like her latest book? In Nicole Holofcener’s \u003cem>You Hurt My Feelings\u003c/em>, it’s the opening salvo in a painfully, hysterically acute examination of honesty in relationships. Not, I repeat not, a date movie. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953440\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png\" alt=\"A white man and a white woman stand in a living room, facing forward and looking stunned.\" width=\"1198\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-1020x637.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-768x480.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">Tobias Menzies and Julia Louis-Dreyfus in a scene from ‘You Hurt My Feelings.’ \u003ccite>(Jeong Park/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of a Preexisting Song: ‘Silver Joy’ by Damien Jurado, ‘The Holdovers’\u003c/h2>\n\u003cp>I think the original song category needs an overhaul. For years, movies have helped introduce me to songs that exist that I might have missed, that become immediate favorites because of the emotional association with a movie. Selecting the right existing song is such an art and one last year stood out over all the rest: Damien Jurado’s “Silver Joy” in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>. — L.B.\u003c/p>\n\u003ch2>Best Hat: Michael Fassbender’s bucket hat, ‘The Killer’\u003c/h2>\n\u003cp>Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of \u003cem>Le Samouraï.\u003c/em> The assassin of David Fincher’s \u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">\u003cem>The Killer\u003c/em>\u003c/a>, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer. That’s much the point for a movie about murder in increasingly anonymous times. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13937722\" class=\"wp-caption aligncenter\" style=\"max-width: 1584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png\" alt=\"A white man wearing leisure wear including white pants and a beige sun hat sits on a bench, looking relaxed.\" width=\"1584\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png 1584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-800x574.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1020x732.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-768x551.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1536x1102.png 1536w\" sizes=\"(max-width: 1584px) 100vw, 1584px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender stars in ‘The Killer.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best One-Scene Performance: Audra McDonald, ‘Origin’\u003c/h2>\n\u003cp>In Ava DuVernay’s too-overlooked \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, much of the film’s sense of humanity comes from the rich presences of the actors who float in and out of the movie. Not just the stellar lead, Aunjanue Ellis-Taylor, but a number of performers — including Jon Bernthal, Emily Yancy and Nick Offerman — add to the nuance of \u003cem>Origin\u003c/em>. That’s especially true of Audra McDonald, who turns up for just one scene that may be the most potent of the film. McDonald plays a woman named Miss Hale, and her story of how she got that name is a delicate powerhouse. — J.C.\u003c/p>\n\u003ch2>Most Romantic: ‘The Taste of Things’\u003c/h2>\n\u003cp>There are not many truly romantic films made for big audiences these days. Sure there’s the odd rom-com here and there, but sweeping, luscious, capital R romances are few and far between and rarely celebrated at awards season (yes, I’m still thinking about Joe Wright’s \u003cem>Cyrano\u003c/em>). This season, that title went to \u003ca href=\"https://www.kqed.org/arts/13951896/the-taste-of-things-juliette-binoche-food-movie-review\">\u003cem>The Taste of Things\u003c/em>\u003c/a>, which doesn’t have an ounce of cynicism, just pure love. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953441\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png\" alt=\"A woman and man stand close together next to a stove pouring one pan into another.\" width=\"1274\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-768x510.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche and Benoît Magimel in a scene from ‘The Taste of Things.’ \u003ccite>(Stéphanie Branchu/ IFC Films via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best NFL Player Performance: Marshawn Lynch, ‘Bottoms’\u003c/h2>\n\u003cp>With exactly zero apologies to \u003cem>80 for Brady\u003c/em> (Jets fan here), no former footballer made more of a big-screen impression than Marshawn Lynch, the former elite running back known as “Beast Mode.” In Emma Seligman’s raunchy lesbian teen comedy \u003cem>Bottoms\u003c/em>, Lynch turns up as a high school teacher and is quite funny acting opposite Rachel Sennott and Ayo Edebiri. The role also has poignance. Lynch has said he did it to help make up for how he handled his sister, Marreesha Sapp-Lynch, coming out in high school. — J.C.\u003c/p>\n\u003ch2>Best Dog Not Named Snoop: Chaplin, ‘Fallen Leaves’\u003c/h2>\n\u003cp>Snoop, the all-seeing dog in the best picture nominee \u003cem>Anatomy of a Fall\u003c/em>, has really hogged the pooch spotlight. Messi, the dog who plays Snoop, has been all over the place, including the film academy luncheon. But it’s time his reign of terror came to end. In Aki Kaurismäki’s \u003cem>Fallen Leaves\u003c/em>, my favorite film of 2023, a pair of loners find nourishing points of connection in a cruel and grim world: the movies, karaoke and a dog named Chaplin. The dog, named Alma in real life, is Kaurismäki’s own mutt, and deserves a few bones thrown her way, too. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953442\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png\" alt=\"A woman sits in a waiting room with one arm around a small dog.\" width=\"1266\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-768x523.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Alma Pöysti and Alma the dog in a scene from ‘Fallen Leaves.’ \u003ccite>(MUBI via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nimsins-vinay-ai-album-documentary-sensory-overload",
"title": "A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours",
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"headTitle": "A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/3DBv2ZxbOjU?feature=shared\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” [aside postid='forum_2010101893314']\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\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/3DBv2ZxbOjU'\n title='//www.youtube.com/embed/3DBv2ZxbOjU'\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>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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