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"content": "\u003cp>When you’ve built a career around explaining race and racism to people, what happens when you find a moment you just don’t want to explain?\u003c/p>\n\u003cp>[aside postid='arts_13932887']That time came for me this week, as memes were rocketing around social media connected \u003ca href=\"https://www.npr.org/2023/08/07/1192460342/montgomery-riverfront-brawl\">to the brawl in Montgomery, Ala\u003c/a>., where a crowd of mostly-Black bystanders ran to help a Black riverboat co-captain who was being assaulted by a group of white people. 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Harrumph).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/blackkingkofi/status/1688604623727112192\u003c/p>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\n\u003cp>https://twitter.com/Pleightx/status/1688924617937981440\u003c/p>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\n\u003cp>https://twitter.com/WUTangKids/status/1689044660977635329\u003c/p>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>[aside postid='arts_13932753']I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>[aside postid='arts_13931436']I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That time came for me this week, as memes were rocketing around social media connected \u003ca href=\"https://www.npr.org/2023/08/07/1192460342/montgomery-riverfront-brawl\">to the brawl in Montgomery, Ala\u003c/a>., where a crowd of mostly-Black bystanders ran to help a Black riverboat co-captain who was being assaulted by a group of white people. He had been attempting to move their pontoon boat, since it was blocking the ferry from docking in its regular space.\u003c/p>\n\u003cp>Video \u003ca href=\"https://youtu.be/-YUSZW5Px6o\">from various bystanders around the dock\u003c/a> captured it all: The co-captain throwing his hat in the air, once a white man pushed him harshly; a different Black man whaling on people with a folding chair, including a white woman who was just sitting on the ground by then; a young Black man on a boat close by who jumped into the water and swam with amazing speed to the scene, jumping up to throw hands.\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/8JdLnCp17Jc'\n title='//www.youtube.com/embed/8JdLnCp17Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, in moments, Black Twitter \u003ca href=\"https://www.npr.org/2023/08/09/1192866104/montgomery-brawl-doesnt-constitute-hate-crime-charges-police-chief-says\">jumped to life\u003c/a> (I know the social media platform is renamed X, but — for the purposes of this piece — I’m using the term to describe people being Black across lots of social media platforms. Harrumph).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "oppenheimer-japanese-erasure",
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"content": "\u003cp>After Li Lai watched an advance screening of \u003cem>Oppenheimer\u003c/em> in Seattle, she didn’t expect her take on the movie to go viral — or for it to receive so much backlash from “WWII bros,” as Lai calls them.\u003c/p>\n\u003cp>“People seem to love #Oppenheimer, but I’ll just say it,” \u003ca href=\"https://twitter.com/MediaversityRev/status/1681534717043277824\">wrote Lai\u003c/a>, the Bay Area-born Taiwanese American founder of a site called Mediaversity that grades films based on their diversity, before she went to bed that night. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”\u003c/p>\n\u003cp>“It isn’t about Japanese Americans or native Americans,” one Twitter user replied. “Anything more you wanna cry about?”\u003c/p>\n\u003cp>[aside postID='news_11906518']One only has to glance at the replies to Lai to see that people have complicated feelings about \u003cem>Oppenheimer\u003c/em>, and that some still justify the atomic bombing of Japan and its ongoing consequences for victims’ families.\u003c/p>\n\u003cp>As a Japanese and Filipina American who has lived with the generational trauma caused by the bomb, I felt conflicted about whether or not to even see \u003cem>Oppenheimer\u003c/em>. Of course, it turned out I wasn’t alone.\u003c/p>\n\u003ch2>‘Who was this movie intended for?’\u003c/h2>\n\u003cp>Miya Sommers is a fifth-generation Japanese American living in Oakland who doesn’t plan on seeing \u003cem>Oppenheimer\u003c/em>. Sommers’ grandfather lived in a town outside of Hiroshima when the atomic bomb hit, killing several of her family members.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m feeling more and more resistant to wanting to pay money to sit through that, knowing that it’s going to be pretty traumatizing,” Sommers said. “I don’t care about [Oppenheimer’s sense of] guilt. Basically my whole family is dead because of him.”\u003c/p>\n\u003cfigure id=\"attachment_13931578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png\" alt=\"A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png 1878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy stars in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Oppenheimer\u003c/em>, the post-bomb carnage that Sommers’ grandfather once described to her in vivid detail — severed limbs, bodies stripped of skin — goes unseen by the viewer. In its place are the reactions of Robert Oppenheimer and other white Americans as he watches a slideshow of the aftermath, his stiff, haunted face illuminated by the white glow of a projector screen thousands of miles from the final resting places of over 100,000 Japanese people.\u003c/p>\n\u003cp>Granted, Oppenheimer’s own perspective is to be expected in an Oppenheimer biopic. But the total absence of Japanese people in the film raises questions for Lai.\u003c/p>\n\u003cp>“It was very chilling that you never get to see any Japanese or Japanese Americans in the movie,” Lai said. “Like, who was this movie intended for? Was the erasure of Japanese voices purposeful or was it just lazy?”\u003c/p>\n\u003cp>Karen Umemoto, a second-generation Japanese American and the director of Asian American Studies at the University of California Los Angeles, says that she can’t erase the graphic images of bomb victims she saw at the Hiroshima Peace Memorial Museum in Japan from her mind.\u003c/p>\n\u003cp>“But those images were what made me so resolute in my belief that the nuclear option is bad and should be destroyed,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg\" alt=\"The Atomic Bomb Dome at the Hiroshima Peace Memorial\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Atomic Bomb Dome is seen at the Hiroshima Peace Memorial ahead of the G7 Leaders’ Summit in Hiroshima on May 18, 2023. \u003ccite>(Ludovic Marin/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Umemoto, a former community organizer for Bay Area Asians for Nuclear Disarmament, says that the vast majority of Americans don’t understand the full horrific gravity of nuclear warfare, which is what makes images of the atomic bombings so powerful.\u003c/p>\n\u003cp>“I would show depictions of the bombings that are raw and honest,” Umemoto said. “But that’s not what sells movie tickets.”\u003c/p>\n\u003cp>What makes a film like \u003cem>Oppenheimer\u003c/em> feel even weightier is absence of blockbuster Hollywood films that represent nonwhite perspectives on the war, says Umemoto.\u003c/p>\n\u003ch2>‘A powerful tool for white male perspectives’\u003c/h2>\n\u003cp>Directed by acclaimed filmmaker Christopher Nolan, the film has also received praise — even from critics of its exclusively white male viewpoint of Asian pain. For some, its technical and cinematic merits have made the debate about its narrow perspective even more fraught.\u003c/p>\n\u003cp>“I thought it was cool that the movie achieved this sense of uneasiness, which I think was purposeful,” Lai said. “I just don’t feel good about it for other reasons.”\u003c/p>\n\u003cp>[aside postID='news_11821133']Ponipate Rokolekutu, a professor of Race and Resistance Studies at San Francisco State University, said he wanted to scream out into the theater of mostly white moviegoers when he saw the film. As an Indigenous Fijian, Rokolekutu had hoped that Oppenheimer might shed light on the Manhattan project’s consequences for the Pacific Islands; \u003ca href=\"https://www.latimes.com/projects/marshall-islands-nuclear-testing-sea-level-rise/\">the U.S. dropped 67 nuclear test bombs\u003c/a> on and above the Marshall Islands between 1946 and 1958. He was also hoping for the perspectives of Japanese and Japanese American people, whose home nation was also brutally occupying islands in the Pacific during the war.\u003c/p>\n\u003cp>“I was struck by the dilemma that Oppenheimer had when he was fighting with the morality of the whole project,” Rokolekutu said. But what was more striking, he said, was everyone who was left out, who is consistently left out in blockbuster war movies.\u003c/p>\n\u003cp>“Hollywood is a powerful tool for white perspectives,” he said. “They don’t want other histories to be known.”\u003c/p>\n\u003cp>The film does bring nuance to Oppenheimer’s experience, from his emotional suffering over the atomic bomb to the anti-Communist witch hunt levied against him in 1954. Elsewhere in the film, though, Nolan hints at people of color as expediently as possible.[pullquote size='large' align='right' citation='Miya Sommers']Basically my whole family is dead because of him.[/pullquote]\u003c/p>\n\u003cp>When the Manhattan project breaks ground in Los Alamos, Oppenheimer makes a short quip about the “Indians” who live there, but the film doesn’t elaborate on that detail. \u003ca href=\"https://nuclearprinceton.princeton.edu/impacts-native-communities-hanford-site#:~:text=The%20Manhattan%20project%20had%20profound,uranium%20mining%20and%20Los%20Alamos\">The Native peoples who were displaced by the project\u003c/a> and whose resources were contaminated by uranium mining and nuclear testing are mentioned only one more time: after the bombing, when Oppenheimer, talking about the land, says, “give it back to the Indians.”\u003c/p>\n\u003cp>For Lai, watching the point of view that Hollywood deemed worthy of a $100 million budget, “I felt very invisible and lonely for another three hours dedicated to a white male genius.”\u003c/p>\n\u003cfigure id=\"attachment_13932208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg\" alt=\"movie posters for 'barbie' and 'oppenheimer' next to each other\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Movie posters for ‘Barbie’ and ‘Oppenheimer’ are pictured outside of the Cinemark Somerdale 16 and XD in Somerdale, New Jersey. \u003ccite>(Hannah Beier/Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, I decided it was worth seeing \u003cem>Oppenheimer\u003c/em>, because I wanted to know how the film did and didn’t uphold Hollywood’s legacy. When my partner and I made our way to the auditorium through crowds of monochromatic Barbie-goers, we felt nervous about what we were about to put ourselves through as Japanese Americans. (The “Barbenheimer” media frenzy, including fan-made costumes and movie poster mashups of Barbie with a fiery mushroom cloud, only further obscures \u003cem>Oppenheimer\u003c/em>’s omissions.)\u003c/p>\n\u003cp>As Oppenheimer and friends triumphed onscreen — their successful test bomb bathing the theater in blinding orange light — we sobbed quietly.\u003c/p>\n\u003cp>[aside postID='news_11956611']“That scene made me think of how my grandfather climbed to the top of a hill near his house outside Hiroshima when he was 10 and watched the mushroom cloud get bigger,” my partner told me as we exited the theater.\u003c/p>\n\u003cp>By the film’s end, Oppenheimer is remorseful — not that he ever apologized for the atrocities in Japan — and completes his heavy-hearted hero’s journey with a profound understanding of how his invention will change the world. I was left thinking of the quote by Scottish comedian Frankie Boyle: “Not only will America go to your country and kill all your people … they’ll come back 20 years later and make a movie about how killing your people made their soldiers feel sad.”\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> does stay true to its scope, which is one man’s perspective. It’s also disappointingly faithful to a Hollywood canon that prioritizes white American experiences, leaving the pain, self-reflections and nuanced interiority of America’s victims unseen and unheard.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\n",
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"excerpt": "The film's omission of Japanese bombing victims is an all too common failure in Hollywood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After Li Lai watched an advance screening of \u003cem>Oppenheimer\u003c/em> in Seattle, she didn’t expect her take on the movie to go viral — or for it to receive so much backlash from “WWII bros,” as Lai calls them.\u003c/p>\n\u003cp>“People seem to love #Oppenheimer, but I’ll just say it,” \u003ca href=\"https://twitter.com/MediaversityRev/status/1681534717043277824\">wrote Lai\u003c/a>, the Bay Area-born Taiwanese American founder of a site called Mediaversity that grades films based on their diversity, before she went to bed that night. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”\u003c/p>\n\u003cp>“It isn’t about Japanese Americans or native Americans,” one Twitter user replied. “Anything more you wanna cry about?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One only has to glance at the replies to Lai to see that people have complicated feelings about \u003cem>Oppenheimer\u003c/em>, and that some still justify the atomic bombing of Japan and its ongoing consequences for victims’ families.\u003c/p>\n\u003cp>As a Japanese and Filipina American who has lived with the generational trauma caused by the bomb, I felt conflicted about whether or not to even see \u003cem>Oppenheimer\u003c/em>. Of course, it turned out I wasn’t alone.\u003c/p>\n\u003ch2>‘Who was this movie intended for?’\u003c/h2>\n\u003cp>Miya Sommers is a fifth-generation Japanese American living in Oakland who doesn’t plan on seeing \u003cem>Oppenheimer\u003c/em>. Sommers’ grandfather lived in a town outside of Hiroshima when the atomic bomb hit, killing several of her family members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m feeling more and more resistant to wanting to pay money to sit through that, knowing that it’s going to be pretty traumatizing,” Sommers said. “I don’t care about [Oppenheimer’s sense of] guilt. Basically my whole family is dead because of him.”\u003c/p>\n\u003cfigure id=\"attachment_13931578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png\" alt=\"A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png 1878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy stars in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Oppenheimer\u003c/em>, the post-bomb carnage that Sommers’ grandfather once described to her in vivid detail — severed limbs, bodies stripped of skin — goes unseen by the viewer. In its place are the reactions of Robert Oppenheimer and other white Americans as he watches a slideshow of the aftermath, his stiff, haunted face illuminated by the white glow of a projector screen thousands of miles from the final resting places of over 100,000 Japanese people.\u003c/p>\n\u003cp>Granted, Oppenheimer’s own perspective is to be expected in an Oppenheimer biopic. But the total absence of Japanese people in the film raises questions for Lai.\u003c/p>\n\u003cp>“It was very chilling that you never get to see any Japanese or Japanese Americans in the movie,” Lai said. “Like, who was this movie intended for? Was the erasure of Japanese voices purposeful or was it just lazy?”\u003c/p>\n\u003cp>Karen Umemoto, a second-generation Japanese American and the director of Asian American Studies at the University of California Los Angeles, says that she can’t erase the graphic images of bomb victims she saw at the Hiroshima Peace Memorial Museum in Japan from her mind.\u003c/p>\n\u003cp>“But those images were what made me so resolute in my belief that the nuclear option is bad and should be destroyed,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg\" alt=\"The Atomic Bomb Dome at the Hiroshima Peace Memorial\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Atomic Bomb Dome is seen at the Hiroshima Peace Memorial ahead of the G7 Leaders’ Summit in Hiroshima on May 18, 2023. \u003ccite>(Ludovic Marin/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Umemoto, a former community organizer for Bay Area Asians for Nuclear Disarmament, says that the vast majority of Americans don’t understand the full horrific gravity of nuclear warfare, which is what makes images of the atomic bombings so powerful.\u003c/p>\n\u003cp>“I would show depictions of the bombings that are raw and honest,” Umemoto said. “But that’s not what sells movie tickets.”\u003c/p>\n\u003cp>What makes a film like \u003cem>Oppenheimer\u003c/em> feel even weightier is absence of blockbuster Hollywood films that represent nonwhite perspectives on the war, says Umemoto.\u003c/p>\n\u003ch2>‘A powerful tool for white male perspectives’\u003c/h2>\n\u003cp>Directed by acclaimed filmmaker Christopher Nolan, the film has also received praise — even from critics of its exclusively white male viewpoint of Asian pain. For some, its technical and cinematic merits have made the debate about its narrow perspective even more fraught.\u003c/p>\n\u003cp>“I thought it was cool that the movie achieved this sense of uneasiness, which I think was purposeful,” Lai said. “I just don’t feel good about it for other reasons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ponipate Rokolekutu, a professor of Race and Resistance Studies at San Francisco State University, said he wanted to scream out into the theater of mostly white moviegoers when he saw the film. As an Indigenous Fijian, Rokolekutu had hoped that Oppenheimer might shed light on the Manhattan project’s consequences for the Pacific Islands; \u003ca href=\"https://www.latimes.com/projects/marshall-islands-nuclear-testing-sea-level-rise/\">the U.S. dropped 67 nuclear test bombs\u003c/a> on and above the Marshall Islands between 1946 and 1958. He was also hoping for the perspectives of Japanese and Japanese American people, whose home nation was also brutally occupying islands in the Pacific during the war.\u003c/p>\n\u003cp>“I was struck by the dilemma that Oppenheimer had when he was fighting with the morality of the whole project,” Rokolekutu said. But what was more striking, he said, was everyone who was left out, who is consistently left out in blockbuster war movies.\u003c/p>\n\u003cp>“Hollywood is a powerful tool for white perspectives,” he said. “They don’t want other histories to be known.”\u003c/p>\n\u003cp>The film does bring nuance to Oppenheimer’s experience, from his emotional suffering over the atomic bomb to the anti-Communist witch hunt levied against him in 1954. Elsewhere in the film, though, Nolan hints at people of color as expediently as possible.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the Manhattan project breaks ground in Los Alamos, Oppenheimer makes a short quip about the “Indians” who live there, but the film doesn’t elaborate on that detail. \u003ca href=\"https://nuclearprinceton.princeton.edu/impacts-native-communities-hanford-site#:~:text=The%20Manhattan%20project%20had%20profound,uranium%20mining%20and%20Los%20Alamos\">The Native peoples who were displaced by the project\u003c/a> and whose resources were contaminated by uranium mining and nuclear testing are mentioned only one more time: after the bombing, when Oppenheimer, talking about the land, says, “give it back to the Indians.”\u003c/p>\n\u003cp>For Lai, watching the point of view that Hollywood deemed worthy of a $100 million budget, “I felt very invisible and lonely for another three hours dedicated to a white male genius.”\u003c/p>\n\u003cfigure id=\"attachment_13932208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg\" alt=\"movie posters for 'barbie' and 'oppenheimer' next to each other\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Movie posters for ‘Barbie’ and ‘Oppenheimer’ are pictured outside of the Cinemark Somerdale 16 and XD in Somerdale, New Jersey. \u003ccite>(Hannah Beier/Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, I decided it was worth seeing \u003cem>Oppenheimer\u003c/em>, because I wanted to know how the film did and didn’t uphold Hollywood’s legacy. When my partner and I made our way to the auditorium through crowds of monochromatic Barbie-goers, we felt nervous about what we were about to put ourselves through as Japanese Americans. (The “Barbenheimer” media frenzy, including fan-made costumes and movie poster mashups of Barbie with a fiery mushroom cloud, only further obscures \u003cem>Oppenheimer\u003c/em>’s omissions.)\u003c/p>\n\u003cp>As Oppenheimer and friends triumphed onscreen — their successful test bomb bathing the theater in blinding orange light — we sobbed quietly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“That scene made me think of how my grandfather climbed to the top of a hill near his house outside Hiroshima when he was 10 and watched the mushroom cloud get bigger,” my partner told me as we exited the theater.\u003c/p>\n\u003cp>By the film’s end, Oppenheimer is remorseful — not that he ever apologized for the atrocities in Japan — and completes his heavy-hearted hero’s journey with a profound understanding of how his invention will change the world. I was left thinking of the quote by Scottish comedian Frankie Boyle: “Not only will America go to your country and kill all your people … they’ll come back 20 years later and make a movie about how killing your people made their soldiers feel sad.”\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> does stay true to its scope, which is one man’s perspective. It’s also disappointingly faithful to a Hollywood canon that prioritizes white American experiences, leaving the pain, self-reflections and nuanced interiority of America’s victims unseen and unheard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Second-By-Second Breakdown of Dolly Parton’s ‘We Are the Champions’ Video",
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"content": "\u003cp>I’ve been trying to ignore the press releases for Dolly Parton’s imminent album \u003cem>Rockstar\u003c/em>, on which the country superstar is joined by guest stars to cover a variety of rock classics. (And also \u003ca href=\"https://www.youtube.com/watch?v=fLH_g2L3pKU\">Miley Cyrus’ pop hit “Wrecking Ball”\u003c/a> because: goddaughter). Some find Dolly duetting with the original artists (like “Every Breath You Take” featuring Sting, or “Heart of Glass” featuring Debbie Harry), and some feature random stars (like her version of “(I Can’t Get No) Satisfaction” with P!nk and Brandi Carlile). The album also contains a few original tracks, on which Dolly collaborates with the likes of \u003ca href=\"https://www.youtube.com/watch?v=hQTM3Dwpk0I\">Judas Priest’s Rob Halford\u003c/a> and human garbage truck Kid Rock.\u003c/p>\n\u003cp>[aside postid='arts_13889581']One of the first tastes we’re getting of \u003cem>Rockstar\u003c/em> is the brand new video for a solo Dolly performing Queen’s “We Are the Champions,” in anticipation of the Summer 2024 Olympics in Paris. Queen’s 1977 hit was already played out as a sporting anthem when the San Francisco Giants decided to play it into our unwilling ears at every game following their 2012 World Series win, but sure, let’s keep flogging that dead horse, shall we?\u003c/p>\n\u003cp>Dolly, perhaps keen to differentiate her sporty use of “We Are the Champions” from other sporty uses of “We Are the Champions,” has also tacked a gratuitous rendition of “We Will Rock You” onto the end. Because apparently good sense was entirely absent in the \u003cem>Rockstar\u003c/em> recording sessions.\u003c/p>\n\u003cp>The video for the final awkward-combo song was released today. As you might expect, it’s a thing to behold! Here then, is our (admittedly cynical) rundown of everything that happens in the video.\u003c/p>\n\u003cp>\u003cstrong>0:05\u003c/strong>: Dolly sits somberly on empty bleachers wearing the same facial expression she might adopt before singing “\u003ca href=\"https://www.youtube.com/watch?v=xRriGGC68A8\">Me and Little Andy\u003c/a>,” her classic track in which an abandoned six-year-old child and her cute little dog beg strangers for help, then unceremoniously drop dead. Who feels like goin’ to the Olympics?! Woo!\u003c/p>\n\u003cfigure id=\"attachment_13932127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png\" alt=\"Dolly Parton, wearing a white jumpsuit, sitting alone in the center of bleachers, head bowed.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM.png 934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton: Very much not at a pep rally and obviously sad about it. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:36\u003c/strong>: Fireworks explode behind the Eiffel Tower and sports montages begin, complete with a backing track of roaring crowds. Do you feel that, everyone? It’s the sound of trying to get excited about something that doesn’t start for another year! Yay!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>0:40\u003c/strong>: Dolly’s wearing a gold dress now. You know: Like the medal. Because if this song isn’t literal enough already, by God, Dolly can and will hammer it home with a wardrobe choice.\u003c/p>\n\u003cp>\u003cstrong>0:49\u003c/strong>: She’s wearing silver now. Because winning a silver medal is also perfectly respectable, and Dolly wouldn’t want you to think otherwise. Inclusion!\u003c/p>\n\u003cp>\u003cstrong>0:52\u003c/strong>: An image of two athletes literally fighting to accompany the line “We’ll keep on fighting ’til the end.” Subtle imagery is everywhere!\u003c/p>\n\u003cp>\u003cstrong>0:56\u003c/strong>: Oh, snap! Dolly’s wearing bronze now! Five dollars says she’s about to show up dressed as a participation certificate.\u003c/p>\n\u003cp>\u003cstrong>0:59\u003c/strong>: Gold, silver and bronze Dolly are singing in front of the Eiffel Tower now, together. Strong bachelorette-party-with-too-many-of-your-drunk-aunts-in-Vegas vibes emanate from the screen.\u003c/p>\n\u003cfigure id=\"attachment_13932126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png\" alt=\"Three Dolly Partons performing on stools together, wearing matching silver, gold and bronze dresses.\" width=\"800\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1020x542.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-160x85.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-768x408.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1536x816.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-2048x1089.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1920x1020.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cool. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:26\u003c/strong>: The line “I’ve taken my bows” is accompanied by — what else? — a runner taking a bow. A handful of my brain cells just died.\u003c/p>\n\u003cp>\u003cstrong>1:40\u003c/strong>: A montage of athletes biting the dust, in slow motion, on their respective fields. “No time for losers” and now this? This doesn’t feel very supportive, Dolly!\u003c/p>\n\u003cp>\u003cstrong>2:28\u003c/strong>: Dolly is in the bleachers again, now surrounded by a wholesome group of perfectly still young people who stare intently at her face, even if it means twisting around in their seats to do so. Two questions: 1) Is this a cult? And, 2) Is there about to be a human sacrifice? ‘Cause this is weird. First one to move is the loser!\u003c/p>\n\u003cfigure id=\"attachment_13932125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png\" alt=\"Dolly Parton seated on bleachers surrounded by a diverse crowd of people of varying ages.\" width=\"800\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-1020x590.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-768x444.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM.png 1144w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Hey, extra No. 46. You look a bit like Zendaya. Go ahead and sit directly behind Dolly.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>2:45\u003c/strong>: Oh, crap. The wholesome humans are singing along en masse now, thereby signaling that we’re \u003cem>all\u003c/em> losers.\u003c/p>\n\u003cp>\u003cstrong>3:04\u003c/strong>: Oh, crap. The “We Will Rock You” segue has begun and things are about to get considerably worse, I can just feel it.\u003c/p>\n\u003cp>[aside postid='arts_13922004']\u003cstrong>3:19\u003c/strong>: Director: “Hey, video people? Listen. Clearly some of you have no rhythm, so instead of doing full handclaps and foot stomps as Queen originally intended, just limply do a single handclap at the end of each section. Is that cool? Cool. We have zero faith in any of you.”\u003c/p>\n\u003cp>\u003cstrong>3:52\u003c/strong>: The camera pans out from Dolly’s corner of the stadium to show bleacher after bleacher of limply clapping people. Feel the American glory!\u003c/p>\n\u003cp>\u003cstrong>3:55\u003c/strong>: Diamonds with “Paris 2024” written inside them flash onscreen along with the NBC logo. I should’ve known that network had something to do with this. NBC was also responsible for the Dollywood/NBC infomercial that was Dolly Parton’s last (mind-melting) Christmas movie, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton’s Magic Mountain Christmas\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>You can watch Dolly Parton’s “We Are the Champions/We Will Rock You” in full below, if you dare:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4UYtJUYrGQQ\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dolly Parton’s ‘Rockstar’ will be released on Nov. 17, 2023. You have been warned.\u003c/em>\u003c/p>\n\n",
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"excerpt": "It's also the video for Dolly’s cover of 'We Will Rock You.' Because why cover one of Queen's worst songs when you can do two?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been trying to ignore the press releases for Dolly Parton’s imminent album \u003cem>Rockstar\u003c/em>, on which the country superstar is joined by guest stars to cover a variety of rock classics. (And also \u003ca href=\"https://www.youtube.com/watch?v=fLH_g2L3pKU\">Miley Cyrus’ pop hit “Wrecking Ball”\u003c/a> because: goddaughter). Some find Dolly duetting with the original artists (like “Every Breath You Take” featuring Sting, or “Heart of Glass” featuring Debbie Harry), and some feature random stars (like her version of “(I Can’t Get No) Satisfaction” with P!nk and Brandi Carlile). The album also contains a few original tracks, on which Dolly collaborates with the likes of \u003ca href=\"https://www.youtube.com/watch?v=hQTM3Dwpk0I\">Judas Priest’s Rob Halford\u003c/a> and human garbage truck Kid Rock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the first tastes we’re getting of \u003cem>Rockstar\u003c/em> is the brand new video for a solo Dolly performing Queen’s “We Are the Champions,” in anticipation of the Summer 2024 Olympics in Paris. Queen’s 1977 hit was already played out as a sporting anthem when the San Francisco Giants decided to play it into our unwilling ears at every game following their 2012 World Series win, but sure, let’s keep flogging that dead horse, shall we?\u003c/p>\n\u003cp>Dolly, perhaps keen to differentiate her sporty use of “We Are the Champions” from other sporty uses of “We Are the Champions,” has also tacked a gratuitous rendition of “We Will Rock You” onto the end. Because apparently good sense was entirely absent in the \u003cem>Rockstar\u003c/em> recording sessions.\u003c/p>\n\u003cp>The video for the final awkward-combo song was released today. As you might expect, it’s a thing to behold! Here then, is our (admittedly cynical) rundown of everything that happens in the video.\u003c/p>\n\u003cp>\u003cstrong>0:05\u003c/strong>: Dolly sits somberly on empty bleachers wearing the same facial expression she might adopt before singing “\u003ca href=\"https://www.youtube.com/watch?v=xRriGGC68A8\">Me and Little Andy\u003c/a>,” her classic track in which an abandoned six-year-old child and her cute little dog beg strangers for help, then unceremoniously drop dead. Who feels like goin’ to the Olympics?! Woo!\u003c/p>\n\u003cfigure id=\"attachment_13932127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png\" alt=\"Dolly Parton, wearing a white jumpsuit, sitting alone in the center of bleachers, head bowed.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM.png 934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton: Very much not at a pep rally and obviously sad about it. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:36\u003c/strong>: Fireworks explode behind the Eiffel Tower and sports montages begin, complete with a backing track of roaring crowds. Do you feel that, everyone? It’s the sound of trying to get excited about something that doesn’t start for another year! Yay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>0:40\u003c/strong>: Dolly’s wearing a gold dress now. You know: Like the medal. Because if this song isn’t literal enough already, by God, Dolly can and will hammer it home with a wardrobe choice.\u003c/p>\n\u003cp>\u003cstrong>0:49\u003c/strong>: She’s wearing silver now. Because winning a silver medal is also perfectly respectable, and Dolly wouldn’t want you to think otherwise. Inclusion!\u003c/p>\n\u003cp>\u003cstrong>0:52\u003c/strong>: An image of two athletes literally fighting to accompany the line “We’ll keep on fighting ’til the end.” Subtle imagery is everywhere!\u003c/p>\n\u003cp>\u003cstrong>0:56\u003c/strong>: Oh, snap! Dolly’s wearing bronze now! Five dollars says she’s about to show up dressed as a participation certificate.\u003c/p>\n\u003cp>\u003cstrong>0:59\u003c/strong>: Gold, silver and bronze Dolly are singing in front of the Eiffel Tower now, together. Strong bachelorette-party-with-too-many-of-your-drunk-aunts-in-Vegas vibes emanate from the screen.\u003c/p>\n\u003cfigure id=\"attachment_13932126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png\" alt=\"Three Dolly Partons performing on stools together, wearing matching silver, gold and bronze dresses.\" width=\"800\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1020x542.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-160x85.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-768x408.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1536x816.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-2048x1089.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1920x1020.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cool. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:26\u003c/strong>: The line “I’ve taken my bows” is accompanied by — what else? — a runner taking a bow. A handful of my brain cells just died.\u003c/p>\n\u003cp>\u003cstrong>1:40\u003c/strong>: A montage of athletes biting the dust, in slow motion, on their respective fields. “No time for losers” and now this? This doesn’t feel very supportive, Dolly!\u003c/p>\n\u003cp>\u003cstrong>2:28\u003c/strong>: Dolly is in the bleachers again, now surrounded by a wholesome group of perfectly still young people who stare intently at her face, even if it means twisting around in their seats to do so. Two questions: 1) Is this a cult? And, 2) Is there about to be a human sacrifice? ‘Cause this is weird. First one to move is the loser!\u003c/p>\n\u003cfigure id=\"attachment_13932125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png\" alt=\"Dolly Parton seated on bleachers surrounded by a diverse crowd of people of varying ages.\" width=\"800\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-1020x590.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-768x444.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM.png 1144w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Hey, extra No. 46. You look a bit like Zendaya. Go ahead and sit directly behind Dolly.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>2:45\u003c/strong>: Oh, crap. The wholesome humans are singing along en masse now, thereby signaling that we’re \u003cem>all\u003c/em> losers.\u003c/p>\n\u003cp>\u003cstrong>3:04\u003c/strong>: Oh, crap. The “We Will Rock You” segue has begun and things are about to get considerably worse, I can just feel it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>3:19\u003c/strong>: Director: “Hey, video people? Listen. Clearly some of you have no rhythm, so instead of doing full handclaps and foot stomps as Queen originally intended, just limply do a single handclap at the end of each section. Is that cool? Cool. We have zero faith in any of you.”\u003c/p>\n\u003cp>\u003cstrong>3:52\u003c/strong>: The camera pans out from Dolly’s corner of the stadium to show bleacher after bleacher of limply clapping people. Feel the American glory!\u003c/p>\n\u003cp>\u003cstrong>3:55\u003c/strong>: Diamonds with “Paris 2024” written inside them flash onscreen along with the NBC logo. I should’ve known that network had something to do with this. NBC was also responsible for the Dollywood/NBC infomercial that was Dolly Parton’s last (mind-melting) Christmas movie, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton’s Magic Mountain Christmas\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>You can watch Dolly Parton’s “We Are the Champions/We Will Rock You” in full below, if you dare:\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/4UYtJUYrGQQ'\n title='//www.youtube.com/embed/4UYtJUYrGQQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\n\u003cp>\u003cem>Dolly Parton’s ‘Rockstar’ will be released on Nov. 17, 2023. You have been warned.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>[aside postID='pop_18933']Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13931533']And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know that feeling you get every time a Fox News presenter uses the word “woke”? That full-body cringe? You probably also experience it every time your dad says “on fleek” or your aunt talks about getting a “glow up.” And I’m fairly certain everyone who watched the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Ticketmaster Senate hearing\u003c/a> last January knows exactly what I’m talking about. (Thanks for all the forced Taylor Swift references, politicians!)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z347R_2R0HM\u003c/p>\n\u003cp>It’s become virtually impossible to avoid these kinds of pandering pop culture references and cringeworthy puns, even in what should be the dullest corners of the internet. There have lately been some major offenders! Let us now collectively point in their direction and judge them.\u003c/p>\n\u003ch2>The FBI Wants You to ‘Speak Now’\u003c/h2>\n\u003cp>Let’s take a moment to think this one through, because honestly, it boggles the mind on multiple levels.\u003c/p>\n\u003cp>Three days after Taylor Swift released her much-hyped \u003cem>Speak Now (Taylor’s Version) \u003c/em>album, someone at the actual Federal Bureau of Investigation noticed, had an incredibly misguided ‘ah-ha’ moment, then came up with … this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/FBIWFO/status/1678524780230656000\u003c/p>\n\u003cp>Because, sure, one of the best ways to get federal crime tips is to wink at a bunch of Taylor Swift fans on Twitter and expect them to immediately spill the many felony-related secrets they’ve been harboring.\u003c/p>\n\u003cp>Snitching: Apparently just one well-placed “Better Than Revenge” reference away!\u003c/p>\n\u003ch2>H&R Block Goes to ‘Taxchella’\u003c/h2>\n\u003cp>Remember that nerdy kid from math club who decided one summer they were going to be cool next year? So they showed up Sophomore year wearing a brand new, stiff-as-all-get-out leather jacket over their regular nerd clothes, and thought that would do the trick? This H&R Block tweet reminds me of that kid.\u003c/p>\n\u003cp>https://twitter.com/HRBlock/status/1646875959537147906\u003c/p>\n\u003cp>I think we can all agree that Portugal, the Tax Pro is a real low point here.\u003c/p>\n\u003ch2>Velveeta Gets in on the Stupid Coachella Thing\u003c/h2>\n\u003cp>Say what you want about H&R Block’s abomination, but at least it was timed to coincide with the first day of Coachella. Velveeta (you heard me) waited two full months to hit the internet with this — a fake festival lineup full of dairy puns that uses the word “drip” repeatedly and still expects us to want to eat cheese afterwards.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuUsRBiSyiA/\u003c/p>\n\u003cp>Really, Velveeta social media person? You’re just gonna go ahead and leave Cheesy XCX sitting there right above Cheesy XX? For shame.\u003c/p>\n\u003ch2>The State of New Jersey Knows a Song\u003c/h2>\n\u003cp>The scene: An over-decorated corner of an office block in Trenton, NJ. Two social media employees smile at each other, fresh from Photoshopping the state of New Jersey onto a picture of Baby Yoda.\u003c/p>\n\u003cp>Susan: Man. We are killing it, bro.\u003cbr>\nDave: I know, dude. What’s next?\u003cbr>\nSusan: I mean… I’ve got this GIF of a pier at sunset?\u003cbr>\nDave: Should we Photoshop Baby Yoda onto it?\u003cbr>\nSusan: Hold my Snapple, friend, because I’ve got an even better idea.\u003cbr>\nDave: Is the idea just “Lizzo”?\u003cbr>\nSusan: Yes!\u003cbr>\nDave: Isn’t she from Detroit though?\u003cbr>\nSusan: Yeah, but… That’s close enough though, right?\u003cbr>\nDave: Totally, dude. Still a genius idea. Just make sure you do the text in lowercase like The Kids do it.\u003cbr>\nSusan: Done!\u003cbr>\nDave and Susan: *high five*\u003c/p>\n\u003cp>https://twitter.com/NJGov/status/1227975614742876160\u003c/p>\n\u003cp>“How Deep is the Ocean?” by Frank Sinatra — who actually \u003cem>is\u003c/em> from New Jersey — was right there, Susan. Right friggin’ there.\u003c/p>\n\u003ch2>The IRS Wants You to Think It Gets Nintendo\u003c/h2>\n\u003cp>Someone at the IRS thinks that if you need a six-month extension on filing your taxes, you’re probably a Super Mario Bros. fan. (Gamers, amiright?)\u003c/p>\n\u003cp>Check out these killer and not at all boxy graphics!\u003c/p>\n\u003cp>https://www.instagram.com/p/CqrEcdsLZUR/?img_index=1\u003c/p>\n\u003cp>“No fire will come your way”? Really, IRS? This is not as seamless as you think it was.\u003c/p>\n\u003ch2>New York City’s Conflicts of Interest Board Has a Full-Blown Meltdown\u003c/h2>\n\u003cp>Not gonna lie, I did have to look up what the New York Conflicts of Interest Board does exactly. If you also don’t know — and to put it as briefly as possible — it’s a government agency that “seeks to prevent ethics questions from becoming ethics problems for public servants.”\u003c/p>\n\u003cp>Less easy to understand is why on God’s green Earth these tweets happened:\u003c/p>\n\u003cp>https://twitter.com/NYCCOIB/status/1228399887588392960\u003c/p>\n\u003cp>What just happened? I mean… What. Just. Happened?\u003c/p>\n\u003ch2>United Tries to Do a ‘Barbie’ Something\u003c/h2>\n\u003cp>Thanks, United. This makes no sense. No sense at all.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cqq271EuOrh/?hl=en\u003c/p>\n\u003cp>The laziness is brazen.\u003c/p>\n\u003ch2>The TSA Turns ‘Barbie’ Into a Slasher Movie\u003c/h2>\n\u003cp>What is it with air travel-related accounts and Greta Gerwig’s friggin’ \u003cem>Barbie\u003c/em> movie?\u003c/p>\n\u003cp>Not to be outdone by United, someone at the TSA took it upon themselves to transform an amusing, tongue-in-cheek \u003cem>Barbie\u003c/em> publicity image into a Cronenberg-ian nightmare that:\u003c/p>\n\u003col>\n\u003cli>Extracts any and all semblance of humor from the image\u003c/li>\n\u003cli>Severs Barbie’s legs from her torso (!)\u003c/li>\n\u003cli>Jams Barbie’s body full of knives (!!)\u003c/li>\n\u003cli>Punishes anyone foolish enough to keep looking at this with a list of godawful puns\u003c/li>\n\u003c/ol>\n\u003cp>https://www.instagram.com/p/CqtMDJtP1AX/?img_index=1\u003c/p>\n\u003cp>This feels like an HR violation.\u003c/p>\n\u003ch2>Parks and … what the heck?\u003c/h2>\n\u003cp>New York City’s Parks Department is prone to leaning into hip-hop culture, posting recent clips of rappers Sean Combs, Fat Joe and Jim Jones. One still has to wonder what its social media team was trying to say when it posted \u003ca href=\"https://www.instagram.com/p/CMQwnSXgY2U/?hl=en\">this clip from 1991’s \u003cem>New Jack City\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>https://www.instagram.com/p/CMQwnSXgY2U/?hl=en\u003c/p>\n\u003cp>Perhaps “Come hang out at our New York City playgrounds where guns are plentiful, men are intimidating and women wear terrible hats?” Slow clap, Parks and Rec department. Slow clap.\u003c/p>\n\u003ch2>Product Safety Folks Do … Whatever This is\u003c/h2>\n\u003cp>If you are a dull entity insisting on making pop culture references in your social media posts, the least you can do is reference things that normal people understand.\u003c/p>\n\u003cp>Let us ponder the wonder contained in this U.S. Consumer Product Safety Commission post:\u003c/p>\n\u003cp>https://twitter.com/USCPSC/status/1230277447859474433\u003c/p>\n\u003cp>I tried hard to understand what the bejesus was going on here and, beyond the obvious laser cat meme, all I managed to figure out is “Should have sent a poet” is a quote from (*checks notes*) the 1997 Jodie Foster alien movie \u003cem>Contact.\u003c/em> (Way to keep it current, guys!) Who Franklin and Dr. Jackson are remains a mystery that not even Google can solve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Good luck out there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The laziness is brazen.\u003c/p>\n\u003ch2>The TSA Turns ‘Barbie’ Into a Slasher Movie\u003c/h2>\n\u003cp>What is it with air travel-related accounts and Greta Gerwig’s friggin’ \u003cem>Barbie\u003c/em> movie?\u003c/p>\n\u003cp>Not to be outdone by United, someone at the TSA took it upon themselves to transform an amusing, tongue-in-cheek \u003cem>Barbie\u003c/em> publicity image into a Cronenberg-ian nightmare that:\u003c/p>\n\u003col>\n\u003cli>Extracts any and all semblance of humor from the image\u003c/li>\n\u003cli>Severs Barbie’s legs from her torso (!)\u003c/li>\n\u003cli>Jams Barbie’s body full of knives (!!)\u003c/li>\n\u003cli>Punishes anyone foolish enough to keep looking at this with a list of godawful puns\u003c/li>\n\u003c/ol>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This feels like an HR violation.\u003c/p>\n\u003ch2>Parks and … what the heck?\u003c/h2>\n\u003cp>New York City’s Parks Department is prone to leaning into hip-hop culture, posting recent clips of rappers Sean Combs, Fat Joe and Jim Jones. One still has to wonder what its social media team was trying to say when it posted \u003ca href=\"https://www.instagram.com/p/CMQwnSXgY2U/?hl=en\">this clip from 1991’s \u003cem>New Jack City\u003c/em>\u003c/a>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps “Come hang out at our New York City playgrounds where guns are plentiful, men are intimidating and women wear terrible hats?” Slow clap, Parks and Rec department. Slow clap.\u003c/p>\n\u003ch2>Product Safety Folks Do … Whatever This is\u003c/h2>\n\u003cp>If you are a dull entity insisting on making pop culture references in your social media posts, the least you can do is reference things that normal people understand.\u003c/p>\n\u003cp>Let us ponder the wonder contained in this U.S. Consumer Product Safety Commission post:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Too Short’s \u003cem>Born to Mack\u003c/em> dropped in 1987, countless Bay Area rap albums have portrayed pimps as folk heroes who get money and status through the sex trade. But there’s a grim reality behind this aspirational image. Although adult sex workers do consensually participate in the industry, the Bay Area is also an international hub for sex trafficking, including of minors, many of whom have survived abuse and neglect from their caregivers, and often go through the foster care system.\u003c/p>\n\u003cp>In a discussion with hip-hop artists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, survivor advocate \u003ca href=\"https://www.instagram.com/bighairbawse/?hl=en\">Xenia St. Charles\u003c/a> explains how struggling young people get lured into exploitation. Later in the conversation, womanist writer and podcast host \u003ca href=\"https://www.instagram.com/bigmoufwoman/\">Tiara Mbonisi\u003c/a> of \u003cem>Big Mouf Woman\u003c/em> offers tools women can use to protect themselves in a misogynistic culture. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://distrokid.com/hyperfollow/stillirise2/whats-pimpin-feat-ryannicole-madlines--coco-peila\">Listen to the track “What’s Pimpin’?”\u003c/a> by Still I Rise (MADlines, Coco Peila and RyanNicole).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Threads: First Impressions of the Latest ‘Thanks, I Hate It’ Social Media App",
"headTitle": "Threads: First Impressions of the Latest ‘Thanks, I Hate It’ Social Media App | KQED",
"content": "\u003cp>Threads! It’s mostly terrible, yes? But you’re also on it? And you’ve checked it 17 times since it launched last night? \u003c/p>\n\u003cp>Yes, Mark Zuckerberg’s Twitter-competitor app Threads is here, and already it’s amassed millions of users thanks to its close integration with Instagram. It has also amassed complaints, speculation, and every once in a while, a quality post. \u003c/p>\n\u003cp>Here, on the first full day of Threads’ availability to the public, some of us from the KQED Arts team offer our first impressions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0091.jpg\" alt=\"\" width=\"750\" height=\"325\" class=\"aligncenter size-full wp-image-13931267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0091.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0091-160x69.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>Give us a followers-only, chronological feed, jeez\u003c/h2>\n\u003cp>A followers-only, chronological feed is the only thing anybody wants in a social media app, and this is what Threads denies its users. The only reason to join a new social media platform is to revel in its followers-only, chronological feed, because five years down the line, it’s inevitably ruined by shoving a bunch of stuff in your face that nobody wants. Threads has decided to jump straight to this five-years-later point of \u003ca href=\"https://www.wired.com/story/tiktok-platforms-cory-doctorow/\">enshittification\u003c/a>: my feed is full of Mr. Beast, Complex, Wendy’s, crypto bros, tech reporters and other garbage I did not sign up to see. I’d love to say that this would mean the death knell for Threads, but Meta is essentially too big to fail; in nearly every other instance of stealing from other social media platforms, they’ve gotten away with it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This morning, head of Instagram Adam Mosseri acknowledged the lack of a followers-only feed, along with the absence of search, hashtags, and DMs, and promised “we’re on it.” But for those who want to run screaming and delete their account now, sorry: if you delete your Threads account, you’re also \u003ca href=\"https://twitter.com/emilyhughes/status/1676775597735923719\">forced to delete your Instagram account with it\u003c/a>. \u003c/p>\n\u003cp>As for the upsides? “At least it isn’t Twitter” isn’t much of a glowing review. But I no longer want to supply free content to Elon Musk on his constantly malfunctioning platform, and I’m not alone. Time will tell if Zuckerberg’s crew can come up with features more compelling for what they are than what they aren’t.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0096.jpg\" alt=\"\" width=\"375\" height=\"650\" class=\"aligncenter size-full wp-image-13931271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0096.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0096-160x277.jpg 160w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/p>\n\u003ch2>The calm? Yeah, that won’t last\u003c/h2>\n\u003cp>12 p.m. July 6: How is Threads? I wouldn’t know, baby! Having worked in social media and social-adjacent journalism roles for over a decade, I’m \u003ca href=\"https://www.kqed.org/explainers\">finally in a job\u003c/a> that does not require me to be wildly invested and involved in “the latest in social media” on a 24/7 basis. So like any reasonable person who wrests a degree of control back over their life, I am now — for the next few hours, anyway — gleefully flexing that control by not activating my Threads account (and let’s be real, if you have an Instagram account that’s all this really is — a de facto activation of the Threads account every Instagram user basically already now has.)\u003c/p>\n\u003cp>This calm won’t last, of course. Judging from the air of “oh, of course” inevitability with which the launch announcement was met among Twitter users, Threads is probably going to become the next Twitter pretty fast. Not just because of that portability of your account and your follower count from Instagram (although do you want to see what your most visual pals are writing in text format?) but because of the fact we’ve all been waiting for New Twitter and, like Goldilocks with a screen time problem, we’ve not found any of the previous options on offer to be Just Right. We’re all tired, and if there’s finally a new option that looks good enough, we’ll probably accept it, with all its wrinkles and evolving features. So, if enough folks make that compromise (and I think they will, fueled by what’s been done to their beloved Twitter since Musk’s takeover), I’ll do it too — basically, so as not to be left in the cold on both the personal and professional fronts. But for now… just let me have a day without Threads?\u003c/p>\n\u003cp>5 p.m. July 6: I am probably now on Threads.—\u003cem>Carly Severn\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0095.jpg\" alt=\"\" width=\"750\" height=\"348\" class=\"aligncenter size-full wp-image-13931270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0095.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0095-160x74.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>Bring back anonymity!\u003c/h2>\n\u003cp>I was shaped/burned by the flames of Tumblr in the mid-to-late 2010s, so the first thing I noticed about Threads is that you need to link it with your Instagram. This makes it slightly more annoying to have alternate, somewhat-anonymous accounts, since Instagram tends to be more personable or influencer-y than, say, the K-pop stan accounts of Twitter and TikTok.\u003c/p>\n\u003cp>Not to imply that there isn’t a wide fandom scene on Instagram, but I have a hard time seeing those subcultures flourishing in an isolating environment like Threads. (I don’t know if that’s a good or bad thing.) There’s not a ton of opportunities to personalize one’s profile, like adding a header.\u003c/p>\n\u003cp>It’s also very ugly.—\u003cem>Nisa Khan\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0090.jpg\" alt=\"\" width=\"750\" height=\"269\" class=\"aligncenter size-full wp-image-13931266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0090.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0090-160x57.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>Call it what it is: two billionaires in a tiresome pissing contest\u003c/h2>\n\u003cp>Most of what I’ve seen on Threads so far is (fittingly) very meta and therefore very boring. Threads about Threads. Beyond that, what I dislike most about the Current State of Social Media is knowing who’s calling the shots: a couple of billionaires engaged in a pissing contest over a form of communication and expression that has come to mean very much to very many. These bros are the frickin’ worst.\u003c/p>\n\u003cp>Mark Zuckerberg, a 39-year-old American man worth $101.5 billion and who employs tens of thousands of people, shitposted on Twitter yesterday for the first time in 11 years. \u003c/p>\n\u003cp>https://twitter.com/finkd/status/1676747594460962817?s=20\u003c/p>\n\u003cp>Meanwhile Twitter — owned by Elon Musk, a person I try to know as little about as possible (and who happens to be worth an unfathomable $249.4 billion) — is now \u003ca href=\"https://www.semafor.com/article/07/06/2023/twitter-is-threatening-to-sue-meta-over-threads\">threatening to sue Meta\u003c/a> over Threads. (The Twitter lawyer’s letter accuses Meta of hiring former Twitter employees with trade secrets.) It’s like a straight-up schoolyard scene over here, folks.\u003c/p>\n\u003cp>https://twitter.com/elonmusk/status/1677042708756439041?s=20\u003c/p>\n\u003cp>Concurrently, Twitter itself is being sued by former employees for a host of reasons, including, most recently, allegedly \u003ca href=\"https://www.theverge.com/2023/7/5/23784760/twitter-lawsuit-arbitration-laid-off-employees-jams-musk\">refusing to pay for legal arbitration fees\u003c/a>. Any time a reporter asks Twitter for comment, they get a poop emoji in response. \u003c/p>\n\u003cp>\u003cem>I do not want to know any of this\u003c/em>. Better yet, I don’t want the products that help me learn new things, connect with colleagues, look at art and stay in touch to do such fundamentally bad things that we need to constantly cover both their mistakes and willful wrongdoings. I am even mad at my editor for asking me to think about the Current State of Social Media and write something about it. Insert a “throwing up arms in disgust” emoji here.—\u003cem>Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0093.jpg\" alt=\"\" width=\"750\" height=\"320\" class=\"aligncenter size-full wp-image-13931269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0093.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0093-160x68.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>I hated everything before and I will probably hate this too\u003c/h2>\n\u003cp>I have, in my entire life, only willingly joined two social media platforms. The first was Friendster (yes, I’m old, shut your mouth, etc.) and the second was MySpace. (Miss you, Tom!) I was dragged kicking and screaming from MySpace when it became apparent that no one else was using it anymore. Fifteen years on, I am still cursing the first person in my Top 8 to defect to Facebook and take everyone else with them. (I HAVEN’T FORGOTTEN, JOE.) \u003c/p>\n\u003cp>Twitter was thrust upon me by my editor when I started working for JustinTimberlake.com in 2009. “It’s essential that you’re on this platform,” she said, entirely unaware that because of my refusal to ever interact with the site, no one would see my posts anyway. Still, I dutifully typed out dull sentences of 140 characters or less and links (that still populated as boring-ass URLs instead of actual article previews) for as long as I remained in Mr. Timberlake’s employ. \u003c/p>\n\u003cp>It’s only in the last six years that I’ve actually found Twitter useful at all. Writing about pop culture for KQED meant checking the “Trending” topics every single morning. Now I question whether the section even works anymore. When it comes to using Twitter, Elon Musk’s toolbaggery is a major turnoff, for sure, but — real talk — if Twitter still worked, I would still use it. I really do miss it being useful.\u003c/p>\n\u003cp>Inside Threads, for the first 20 minutes, I felt like Janet in \u003cem>The Good Place\u003c/em> — just staring into bare white nothingness, waiting for someone to summon me from the abyss. When I did finally find the “thread” portion — the place with actual posts — I was immediately reminded that \u003ca href=\"https://www.pilotonline.com/2020/08/05/with-tiktok-mired-in-uncertainty-facebook-pounces-with-instagram-reels/\">social media biter\u003c/a> Mark Zuckerberg is involved in this by the fact that the layout is basically identical to Twitter. (Is that legal? It feels like that shouldn’t be legal…) The second thing that struck me is that the people I primarily follow on Instagram are artists and friends, not the journalists I follow on Twitter. I have no idea how to find my favorite writers and commentators on Threads and I am 98% sure that I don’t have the patience to figure it out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So sure, I’m on Threads now. (Shrug emoji.) But like every other platform that isn’t Friendster or MySpace, I will probably only figure out how to use it about three years after the 38,763,893 other people who downloaded it before me. Probably see you there when I do. Because, really. Where else are we going to go?—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"excerpt": "Zuckerberg’s new competitor to Elon Musk’s decaying Twitter has launched. What’s good and what’s unbearable?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Threads! It’s mostly terrible, yes? But you’re also on it? And you’ve checked it 17 times since it launched last night? \u003c/p>\n\u003cp>Yes, Mark Zuckerberg’s Twitter-competitor app Threads is here, and already it’s amassed millions of users thanks to its close integration with Instagram. It has also amassed complaints, speculation, and every once in a while, a quality post. \u003c/p>\n\u003cp>Here, on the first full day of Threads’ availability to the public, some of us from the KQED Arts team offer our first impressions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0091.jpg\" alt=\"\" width=\"750\" height=\"325\" class=\"aligncenter size-full wp-image-13931267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0091.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0091-160x69.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>Give us a followers-only, chronological feed, jeez\u003c/h2>\n\u003cp>A followers-only, chronological feed is the only thing anybody wants in a social media app, and this is what Threads denies its users. The only reason to join a new social media platform is to revel in its followers-only, chronological feed, because five years down the line, it’s inevitably ruined by shoving a bunch of stuff in your face that nobody wants. Threads has decided to jump straight to this five-years-later point of \u003ca href=\"https://www.wired.com/story/tiktok-platforms-cory-doctorow/\">enshittification\u003c/a>: my feed is full of Mr. Beast, Complex, Wendy’s, crypto bros, tech reporters and other garbage I did not sign up to see. I’d love to say that this would mean the death knell for Threads, but Meta is essentially too big to fail; in nearly every other instance of stealing from other social media platforms, they’ve gotten away with it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This morning, head of Instagram Adam Mosseri acknowledged the lack of a followers-only feed, along with the absence of search, hashtags, and DMs, and promised “we’re on it.” But for those who want to run screaming and delete their account now, sorry: if you delete your Threads account, you’re also \u003ca href=\"https://twitter.com/emilyhughes/status/1676775597735923719\">forced to delete your Instagram account with it\u003c/a>. \u003c/p>\n\u003cp>As for the upsides? “At least it isn’t Twitter” isn’t much of a glowing review. But I no longer want to supply free content to Elon Musk on his constantly malfunctioning platform, and I’m not alone. Time will tell if Zuckerberg’s crew can come up with features more compelling for what they are than what they aren’t.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0096.jpg\" alt=\"\" width=\"375\" height=\"650\" class=\"aligncenter size-full wp-image-13931271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0096.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0096-160x277.jpg 160w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/p>\n\u003ch2>The calm? Yeah, that won’t last\u003c/h2>\n\u003cp>12 p.m. July 6: How is Threads? I wouldn’t know, baby! Having worked in social media and social-adjacent journalism roles for over a decade, I’m \u003ca href=\"https://www.kqed.org/explainers\">finally in a job\u003c/a> that does not require me to be wildly invested and involved in “the latest in social media” on a 24/7 basis. So like any reasonable person who wrests a degree of control back over their life, I am now — for the next few hours, anyway — gleefully flexing that control by not activating my Threads account (and let’s be real, if you have an Instagram account that’s all this really is — a de facto activation of the Threads account every Instagram user basically already now has.)\u003c/p>\n\u003cp>This calm won’t last, of course. Judging from the air of “oh, of course” inevitability with which the launch announcement was met among Twitter users, Threads is probably going to become the next Twitter pretty fast. Not just because of that portability of your account and your follower count from Instagram (although do you want to see what your most visual pals are writing in text format?) but because of the fact we’ve all been waiting for New Twitter and, like Goldilocks with a screen time problem, we’ve not found any of the previous options on offer to be Just Right. We’re all tired, and if there’s finally a new option that looks good enough, we’ll probably accept it, with all its wrinkles and evolving features. So, if enough folks make that compromise (and I think they will, fueled by what’s been done to their beloved Twitter since Musk’s takeover), I’ll do it too — basically, so as not to be left in the cold on both the personal and professional fronts. But for now… just let me have a day without Threads?\u003c/p>\n\u003cp>5 p.m. July 6: I am probably now on Threads.—\u003cem>Carly Severn\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0095.jpg\" alt=\"\" width=\"750\" height=\"348\" class=\"aligncenter size-full wp-image-13931270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0095.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0095-160x74.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>Bring back anonymity!\u003c/h2>\n\u003cp>I was shaped/burned by the flames of Tumblr in the mid-to-late 2010s, so the first thing I noticed about Threads is that you need to link it with your Instagram. This makes it slightly more annoying to have alternate, somewhat-anonymous accounts, since Instagram tends to be more personable or influencer-y than, say, the K-pop stan accounts of Twitter and TikTok.\u003c/p>\n\u003cp>Not to imply that there isn’t a wide fandom scene on Instagram, but I have a hard time seeing those subcultures flourishing in an isolating environment like Threads. (I don’t know if that’s a good or bad thing.) There’s not a ton of opportunities to personalize one’s profile, like adding a header.\u003c/p>\n\u003cp>It’s also very ugly.—\u003cem>Nisa Khan\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0090.jpg\" alt=\"\" width=\"750\" height=\"269\" class=\"aligncenter size-full wp-image-13931266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0090.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0090-160x57.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>Call it what it is: two billionaires in a tiresome pissing contest\u003c/h2>\n\u003cp>Most of what I’ve seen on Threads so far is (fittingly) very meta and therefore very boring. Threads about Threads. Beyond that, what I dislike most about the Current State of Social Media is knowing who’s calling the shots: a couple of billionaires engaged in a pissing contest over a form of communication and expression that has come to mean very much to very many. These bros are the frickin’ worst.\u003c/p>\n\u003cp>Mark Zuckerberg, a 39-year-old American man worth $101.5 billion and who employs tens of thousands of people, shitposted on Twitter yesterday for the first time in 11 years. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Meanwhile Twitter — owned by Elon Musk, a person I try to know as little about as possible (and who happens to be worth an unfathomable $249.4 billion) — is now \u003ca href=\"https://www.semafor.com/article/07/06/2023/twitter-is-threatening-to-sue-meta-over-threads\">threatening to sue Meta\u003c/a> over Threads. (The Twitter lawyer’s letter accuses Meta of hiring former Twitter employees with trade secrets.) It’s like a straight-up schoolyard scene over here, folks.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Concurrently, Twitter itself is being sued by former employees for a host of reasons, including, most recently, allegedly \u003ca href=\"https://www.theverge.com/2023/7/5/23784760/twitter-lawsuit-arbitration-laid-off-employees-jams-musk\">refusing to pay for legal arbitration fees\u003c/a>. Any time a reporter asks Twitter for comment, they get a poop emoji in response. \u003c/p>\n\u003cp>\u003cem>I do not want to know any of this\u003c/em>. Better yet, I don’t want the products that help me learn new things, connect with colleagues, look at art and stay in touch to do such fundamentally bad things that we need to constantly cover both their mistakes and willful wrongdoings. I am even mad at my editor for asking me to think about the Current State of Social Media and write something about it. Insert a “throwing up arms in disgust” emoji here.—\u003cem>Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_0093.jpg\" alt=\"\" width=\"750\" height=\"320\" class=\"aligncenter size-full wp-image-13931269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0093.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_0093-160x68.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\u003ch2>I hated everything before and I will probably hate this too\u003c/h2>\n\u003cp>I have, in my entire life, only willingly joined two social media platforms. The first was Friendster (yes, I’m old, shut your mouth, etc.) and the second was MySpace. (Miss you, Tom!) I was dragged kicking and screaming from MySpace when it became apparent that no one else was using it anymore. Fifteen years on, I am still cursing the first person in my Top 8 to defect to Facebook and take everyone else with them. (I HAVEN’T FORGOTTEN, JOE.) \u003c/p>\n\u003cp>Twitter was thrust upon me by my editor when I started working for JustinTimberlake.com in 2009. “It’s essential that you’re on this platform,” she said, entirely unaware that because of my refusal to ever interact with the site, no one would see my posts anyway. Still, I dutifully typed out dull sentences of 140 characters or less and links (that still populated as boring-ass URLs instead of actual article previews) for as long as I remained in Mr. Timberlake’s employ. \u003c/p>\n\u003cp>It’s only in the last six years that I’ve actually found Twitter useful at all. Writing about pop culture for KQED meant checking the “Trending” topics every single morning. Now I question whether the section even works anymore. When it comes to using Twitter, Elon Musk’s toolbaggery is a major turnoff, for sure, but — real talk — if Twitter still worked, I would still use it. I really do miss it being useful.\u003c/p>\n\u003cp>Inside Threads, for the first 20 minutes, I felt like Janet in \u003cem>The Good Place\u003c/em> — just staring into bare white nothingness, waiting for someone to summon me from the abyss. When I did finally find the “thread” portion — the place with actual posts — I was immediately reminded that \u003ca href=\"https://www.pilotonline.com/2020/08/05/with-tiktok-mired-in-uncertainty-facebook-pounces-with-instagram-reels/\">social media biter\u003c/a> Mark Zuckerberg is involved in this by the fact that the layout is basically identical to Twitter. (Is that legal? It feels like that shouldn’t be legal…) The second thing that struck me is that the people I primarily follow on Instagram are artists and friends, not the journalists I follow on Twitter. I have no idea how to find my favorite writers and commentators on Threads and I am 98% sure that I don’t have the patience to figure it out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So sure, I’m on Threads now. (Shrug emoji.) But like every other platform that isn’t Friendster or MySpace, I will probably only figure out how to use it about three years after the 38,763,893 other people who downloaded it before me. Probably see you there when I do. Because, really. Where else are we going to go?—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "whats-pimpin-madlines-coco-peila-ryannicole-dregs-one-ian-kelly",
"title": "Watch: 'What's Pimpin'?' Dives Into Masculinity, Dating with Dregs One, Ian Kelly",
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"headTitle": "Watch: ‘What’s Pimpin’?’ Dives Into Masculinity, Dating with Dregs One, Ian Kelly | KQED",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. [aside postid='arts_13930886,arts_13931295,arts_13930867']\u003c/i>\u003c/p>\n\u003cp>Growing up in Oakland and San Francisco respectively, hip-hop artists \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a> witnessed their peers enter the sex trade to make a living — a reality reflected in, and sometimes glamorized by, music and pop culture.\u003c/p>\n\u003cp>In a candid discussion with hosts \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, Dregs and Kelly share how growing up around pimping impacted their views of masculinity and relationships, and shaped the messages they now share in their music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">Catch up on episode one here\u003c/a> and stay tuned for the final episode of this three-part series dropping on July 12. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help at the RAINN hotline at 800-656-4673 or via chat at online.rainn.org. The National Human Trafficking Hotline is available at 1-888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/i>\u003c/p>\n\u003cp>Growing up in Oakland and San Francisco respectively, hip-hop artists \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a> witnessed their peers enter the sex trade to make a living — a reality reflected in, and sometimes glamorized by, music and pop culture.\u003c/p>\n\u003cp>In a candid discussion with hosts \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, Dregs and Kelly share how growing up around pimping impacted their views of masculinity and relationships, and shaped the messages they now share in their music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">Catch up on episode one here\u003c/a> and stay tuned for the final episode of this three-part series dropping on July 12. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Picture this: You’re on the dance floor at a Bay Area function, and “\u003ca href=\"https://youtu.be/6vE6oUc0t4o\">Feelin’ Myself\u003c/a>” by Mac Dre pumps through the speakers. The whole room erupts with joy, and everyone chants the lyrics: “I’m sicker than SARS / higher than Mars.” Then the beat stops and the crowd screams: “And I treat my bitch like an ATM card!”\u003c/p>\n\u003cp>There’s power in this ritual, which has been a mainstay at local clubs and house parties since Mac Dre’s hyphy anthem came out in 2004. The music allows us to \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">partake in a collective experience\u003c/a>, and to feel a sense of Bay Area pride at a crucial time when so many have been pushed out of this unaffordable region.\u003c/p>\n\u003cp>But, scratching below the surface, “Feelin’ Myself” and many of our beloved, local ’90s and 2000s anthems — Dru Down’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">Pimp of the Year\u003c/a>,” D-Lo’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">No Hoe\u003c/a>” — contain casual references to violence against and the exploitation of women.\u003c/p>\n\u003cp>Pimp culture is in Bay Area hip-hop’s DNA as much as the liberation politics of the Black Panthers. Some of the region’s \u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">earliest rappers based their personas on blaxploitation films\u003c/a> like 1973’s \u003cem>The Mack\u003c/em>, which was shot in Oakland and featured real-life pimps and sex workers. Not to mention, \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">some of these original MCs \u003cem>were\u003c/em> actual pimps\u003c/a>. As hip-hop \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">became a commercial force in the late ’80s\u003c/a>, albums like Too Short’s \u003cem>Born to Mack\u003c/em> helped define the Bay Area’s style and identity for the rest of the nation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But considering that the Bay Area is an international hub for sex trafficking, this art reflects a dangerous reality.\u003c/p>\n\u003cp>In our new vodcast, \u003cem>What’s Pimpin’?\u003c/em>, women rappers and activists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a> (aka MADlines), \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a> and \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> take back the mic. Across three episodes, the three hosts facilitate candid discussions about the disproportionate rates of violence Black women face, and how systemic racism and wealth inequality breed desperate conditions where pimp culture thrives. They also get deep, drawing from their personal experiences of moving through an Oakland rap scene that at times espouses both misogynistic and revolutionary ideals. [aside postid='arts_13930867,arts_13931295,arts_13931108']\u003c/p>\n\u003cp>As Clifford writes in her essay, “\u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">It’s Time to Unpack Pimp Culture in Bay Area Hip-Hop\u003c/a>,” pimp culture has roots in the exploitative power dynamics that have been part of American culture since colonialism and slavery: “We can sugarcoat the truth, but at the root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.”\u003c/p>\n\u003cp>Stay tuned for \u003cem>What’s Pimpin’? \u003c/em>episodes two and three dropping on July 5 and July 12. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya, lead producer\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help from the \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> hotline at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>. The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_13930933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/pimp-culture-essay-800x450.png\" alt=\"A yellow-and-blue collage features cultural figures that represent Black feminism and pimp culture, two themes explored in our new vodcast, 'What's Pimpin'?'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In our new vodcast ‘What’s Pimpin’?,’ hosts Maddy Clifford, Coco Peila and RyanNicole dissect why Oakland came to be known as “the land of pimps and Panthers.” Clockwise from left: Maya Angelou; Too Short; Dru Down; Frank Ward and Max Julien in ‘The Mack;’ and women of the Black Panther Party. \u003ccite>(Michael Ochs Archives/Getty Images; Jive Records/Dangerous Music; C-Note Records; New Line Cinema; Pirkle Jones and Ruth-Marion Baruch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. \u003c/i>\u003c/p>\n\u003cp>I’m a teaching artist standing before 20 teenage boys, mostly Black and brown. They’re inquisitive at the moment, which means I have just minutes to grab their attention before they zone out. Oh, and by the way, they’re incarcerated in the high-security unit at San Francisco Juvenile Hall.\u003c/p>\n\u003cp>“So feminism is…”\u003c/p>\n\u003cp>I trail off. The white, male teacher assigned to leading discussions for Women’s History Month eyes me. I’m nervous he’ll interrupt again, launching into a mansplanation about why the unit should care about the girls in their community.\u003c/p>\n\u003cp>“I know it’s sometimes hard for y’all to understand feminism because y’all go through so much,” I continue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true. Most of them sleep on concrete beds each night. They’re at a pivotal age, a time when they’re in desperate need of positive direction. Unfortunately, they’re locked up instead. And they’re inundated with notions of toxic masculinity.\u003c/p>\n\u003cp>It doesn’t help that most of the rap music they love reinforces the idea that women are objects. Sometimes they waste sharp wits cooking up ways to exploit young women in their lives. I remember one boy telling me: “I can’t wait to have a wife so she can pay for all my shit.” I guess that Mac Dre line — “\u003ca href=\"https://www.youtube.com/watch?v=6vE6oUc0t4o\">I treat my bitch like an ATM card\u003c/a>” — already got to him.\u003c/p>\n\u003cp>To combat this messaging, I handpick rap bars for our creative writing lessons. 2pac’s “\u003ca href=\"https://youtu.be/Mb1ZvUDvLDY\">Dear Mama\u003c/a>” is essentially an epistolary poem, and “\u003ca href=\"https://youtu.be/vYJCT8EqbtU\">Birds Eye View\u003c/a>” by Zion I is a great example of personification. But how am I supposed to compete with the allure of patriarchy?\u003c/p>\n\u003cp>I clear my throat and keep talking.\u003c/p>\n\u003cp>“Y’all probably heard about the #MeToo movement, right? Well, I met \u003ca href=\"https://www.taranaburke.com/\">Tarana Burke\u003c/a>. She’s the founder of the movement. She told me #MeToo isn’t a women’s movement, it’s a survivors’ movement.”\u003c/p>\n\u003cp>To my delight, some of my students nod. Furrowed brows begin to soften, and empathy permeates the room. It makes sense. Almost \u003ca href=\"https://kidsimprisoned.news21.com/foster-care-kids-juvenile-justice-system/\">60% of incarcerated youth\u003c/a> have been through the foster care system. And, according to one Johns Hopkins University study, foster youth are \u003ca href=\"https://www.focusforhealth.org/sex-abuse-and-the-foster-care-system/\">four times as likely to experience sexual abuse\u003c/a> as their peers. I wasn’t merely standing in front of a group of teenage boys. I was standing with fellow survivors. [aside postid='arts_13930886' hero='https://ww2.kqed.org/app/uploads/sites/2/2023/06/Whats-Pimpin-Episode-1-Wordpress-Thumbnail.jpg']\u003c/p>\n\u003cp>For decades, hip-hop has empowered and given voice to countless young people like my students. And now, the culture has grown up. In light of its 50th anniversary, isn’t it time we seriously examine hip-hop’s contradictions? If Bay Area hip-hop is “\u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">the product of pimps and hustlers just as much as activists and intellectuals\u003c/a>,” how do we uplift its innovative potential while holding space to look at all the ways it falls short?\u003c/p>\n\u003cp>Throughout my decade-plus of experience as an educator, MC and community organizer, I’ve seen firsthand how hip-hop’s glorification of pimp culture harms people of all genders. Pimping obviously predates hip-hop. But that doesn’t mean we should normalize antiquated ideas about gender, or push played-out power dynamics. We can sugarcoat the truth, but at its root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.\u003c/p>\n\u003cp>In my poetry classes in juve, the poem “Still I Rise” by Maya Angelou was a favorite, especially among incarcerated girls. Something about rising “like dust” against all odds resonated with them. Still I Rise is also the name of a recent creative collaboration among myself and the Bay Area-rooted rappers \u003ca href=\"https://www.kqed.org/arts/13890558/with-labor-ryannicole-uplifts-black-womens-invisible-work\">RyanNicole\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13915289/hip-hop-songs-lyrics-abortion\">Coco Peila\u003c/a>. Together we’ve created a three-part video podcast, \u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">\u003ci>What’s Pimpin’?\u003c/i>\u003c/a> A new episode drops each Wednesday on \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g\">KQED Arts & Culture’s YouTube channel\u003c/a> June 28–July 12, and our EP of the same title is coming soon. The project examines pimp culture, with a particular focus on misogynoir. Our goal: having tough conversations and cultivating solutions.\u003c/p>\n\u003cp>[pullquote size=\"large\" citation=\"Maddy Clifford, artist and co-host of 'What's Pimpin'?'\"]We want to separate hip-hop culture from pimp culture, which mirrors the exploitation and domination of colonialism, slavery and racial capitalism.[/pullquote]\u003c/p>\n\u003cp>Despite its flaws, Bay Area hip-hop is incredibly creative and full of liberatory potential. I saw this as a young rapper growing up in Seattle, when I had Andre Nickatina’s “\u003ca href=\"https://youtu.be/Ad4Bx8QCKSU\">Jungle\u003c/a>” on repeat. There was something wildly unique about his sound. He was nerdy — referencing \u003ci>Alice in Wonderland\u003c/i> and \u003ci>Star Wars\u003c/i> in his rhymes — yet dangerous. I could relate. Other Bay Area rappers shared my desire to use the music for revolutionary change. I sang along to Mystic’s “\u003ca href=\"https://youtu.be/GoK01XY52Uc\">The Life\u003c/a>” because it captured my passion to alleviate suffering. Bay Area hip-hop influenced my decision to move to Oakland in my early 20s, over a decade ago. It’s as multifaceted as the streets where it originates. [aside postid='arts_13931108' hero='https://ww2.kqed.org/app/uploads/sites/2/2023/07/Episode-2-Youtube-Thumbnail.jpg']\u003c/p>\n\u003cp>The conversations we’re having in \u003ci>What’s Pimpin’?\u003c/i> are challenging because critiquing Bay Area hip-hop can feel like airing out dirty laundry. The Bay Area often gets overlooked in the music industry despite its outsized influence. Since the \u003ca href=\"https://slate.com/podcasts/slow-burn/s3/biggie-and-tupac/e4/c-delores-tucker-against-hip-hop\">gangsta rap moral panic\u003c/a> of the early ’90s, white \u003ca href=\"https://apnews.com/article/a249c215c523dbd528710412cb91b193\">politicians\u003c/a>, pundits and other outsiders have bolstered their careers by vilifying hip-hop. And our racist criminal justice system has used \u003ca href=\"https://www.nbcnews.com/news/us-news/black-rappers-call-double-standard-using-hip-hop-lyrics-evidence-rappe-rcna65529\">rap lyrics to put people behind bars\u003c/a>. Fans are rightfully protective.\u003c/p>\n\u003cp>But as hip-hop artists who believe in gender equality, we want to push the culture forward. We want to separate hip-hop culture from pimp culture, which mirrors the exploitation and domination of colonialism, slavery and racial capitalism — it didn’t start in 1973 with the movie \u003ci>The Mack\u003c/i> and didn’t end the day Too Short got a \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">street named after him\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SIR-artists-2-800x533.jpg\" alt=\"Three young Black female MCs pose together wearing black. A shadow falls over their faces.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole, Coco Peila and Maddy Clifford are Still I Rise. \u003ccite>(DIFF WORKS LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapping about pimping is profitable, but behind the glamorous image are real-world statistics about how Black women and girls are particularly vulnerable to exploitation and violence. A 2011 study tracking a two-year period showed that \u003ca href=\"https://rights4girls.org/wp-content/uploads/2019/05/Racial-Disparties-FactSheet-_Jan-2021.pdf\">94% of U.S. sex-trafficking victims were female\u003c/a>. Of those victims, 40% were Black and 24% were Latinx. Meanwhile, buyers are overwhelmingly white men.\u003c/p>\n\u003cp>Protecting Black women and girls is particularly difficult because they’re less likely to be reported missing. According to a \u003ca href=\"https://www.oaklandca.gov/news/2023/council-unanimously-votes-in-favor-of-councilmember-reids-resolution-supporting-the-establishment-of-a-statewide-ebony-alert-to-help-locate-missing-black-women-and-girls\">May statement from Oakland City Councilmember Treva Reid\u003c/a>, of the 1,500 missing-persons cases in Oakland this year, 400 of them are Black women. The stakes couldn’t be higher.\u003c/p>\n\u003cp>I’m a firm believer in the kind of love that Assata Shakur describes as “contraband in hell.” She says it’s as powerful as “an acid that eats away bars.” If we love our Bay Area community, then we can’t expect to actualize that love without having some uncomfortable conversations. My love for the men in my community motivates me to hold them accountable instead of coddling harmful behavior. My love has inspired me to spend almost a decade uplifting youth trapped in jail cells. My love isn’t about censorship — it’s about owning up to what’s being said. [aside postid='arts_13931295' hero='https://ww2.kqed.org/app/uploads/sites/2/2023/07/Whats-Pimpin-Episode-3-Wordpress-Thumbnail.jpg']\u003c/p>\n\u003cp>But I can’t love alone. I need men to step up and question their own conditioning. Our project \u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">\u003ci>What’s Pimpin’?\u003c/i>\u003c/a> isn’t the first to ask an age-old question about exploitation, coercion and control. I can only hope it won’t be the last.\u003c/p>\n\u003ch2>Resources\u003c/h2>\n\u003cp>The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 1-888-373-7888 or via text message at 233733.\u003c/p>\n\u003cp>\u003ca href=\"https://bayareaworkerssupport.org/\">Bay Area Worker Support\u003c/a> offers mutual aid, social support and resources to people working in the sex trade.\u003c/p>\n\u003cp>\u003ca href=\"https://www.loveneverfailsus.com/\">Love Never Fails\u003c/a> provides housing and support to human-trafficking survivors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510357/louder-than-a-riot\">\u003cem>Louder Than a Riot\u003c/em>\u003c/a>, an NPR Podcast, examines misogynoir and homophobia in hip-hop.\u003c/p>\n\u003cp>\u003ca href=\"https://misssey.org/\">MISSSEY\u003c/a> works to prevent girls and gender-expansive youth from being sexually exploited, and supports survivors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> offers free, confidential help for survivors of sexual violence at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://rights4girls.org/\">Rights4Girls\u003c/a> offers numerous educational resources about sex trafficking.\u003c/p>\n\u003cp>The \u003ca href=\"https://southbayendtrafficking.org/\">South Bay Coalition to End Human Trafficking\u003c/a> provides resources to survivors in Santa Clara and San Benito counties.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.shademovement.org/about-us\">Survivors Healing, Advising and Dedicated to Empowerment (SHADE)\u003c/a> offers support groups, crisis response, peer counseling and more to human-trafficking survivors.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/pimp-culture-essay-800x450.png\" alt=\"A yellow-and-blue collage features cultural figures that represent Black feminism and pimp culture, two themes explored in our new vodcast, 'What's Pimpin'?'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/pimp-culture-essay.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In our new vodcast ‘What’s Pimpin’?,’ hosts Maddy Clifford, Coco Peila and RyanNicole dissect why Oakland came to be known as “the land of pimps and Panthers.” Clockwise from left: Maya Angelou; Too Short; Dru Down; Frank Ward and Max Julien in ‘The Mack;’ and women of the Black Panther Party. \u003ccite>(Michael Ochs Archives/Getty Images; Jive Records/Dangerous Music; C-Note Records; New Line Cinema; Pirkle Jones and Ruth-Marion Baruch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. \u003c/i>\u003c/p>\n\u003cp>I’m a teaching artist standing before 20 teenage boys, mostly Black and brown. They’re inquisitive at the moment, which means I have just minutes to grab their attention before they zone out. Oh, and by the way, they’re incarcerated in the high-security unit at San Francisco Juvenile Hall.\u003c/p>\n\u003cp>“So feminism is…”\u003c/p>\n\u003cp>I trail off. The white, male teacher assigned to leading discussions for Women’s History Month eyes me. I’m nervous he’ll interrupt again, launching into a mansplanation about why the unit should care about the girls in their community.\u003c/p>\n\u003cp>“I know it’s sometimes hard for y’all to understand feminism because y’all go through so much,” I continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true. Most of them sleep on concrete beds each night. They’re at a pivotal age, a time when they’re in desperate need of positive direction. Unfortunately, they’re locked up instead. And they’re inundated with notions of toxic masculinity.\u003c/p>\n\u003cp>It doesn’t help that most of the rap music they love reinforces the idea that women are objects. Sometimes they waste sharp wits cooking up ways to exploit young women in their lives. I remember one boy telling me: “I can’t wait to have a wife so she can pay for all my shit.” I guess that Mac Dre line — “\u003ca href=\"https://www.youtube.com/watch?v=6vE6oUc0t4o\">I treat my bitch like an ATM card\u003c/a>” — already got to him.\u003c/p>\n\u003cp>To combat this messaging, I handpick rap bars for our creative writing lessons. 2pac’s “\u003ca href=\"https://youtu.be/Mb1ZvUDvLDY\">Dear Mama\u003c/a>” is essentially an epistolary poem, and “\u003ca href=\"https://youtu.be/vYJCT8EqbtU\">Birds Eye View\u003c/a>” by Zion I is a great example of personification. But how am I supposed to compete with the allure of patriarchy?\u003c/p>\n\u003cp>I clear my throat and keep talking.\u003c/p>\n\u003cp>“Y’all probably heard about the #MeToo movement, right? Well, I met \u003ca href=\"https://www.taranaburke.com/\">Tarana Burke\u003c/a>. She’s the founder of the movement. She told me #MeToo isn’t a women’s movement, it’s a survivors’ movement.”\u003c/p>\n\u003cp>To my delight, some of my students nod. Furrowed brows begin to soften, and empathy permeates the room. It makes sense. Almost \u003ca href=\"https://kidsimprisoned.news21.com/foster-care-kids-juvenile-justice-system/\">60% of incarcerated youth\u003c/a> have been through the foster care system. And, according to one Johns Hopkins University study, foster youth are \u003ca href=\"https://www.focusforhealth.org/sex-abuse-and-the-foster-care-system/\">four times as likely to experience sexual abuse\u003c/a> as their peers. I wasn’t merely standing in front of a group of teenage boys. I was standing with fellow survivors. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, hip-hop has empowered and given voice to countless young people like my students. And now, the culture has grown up. In light of its 50th anniversary, isn’t it time we seriously examine hip-hop’s contradictions? If Bay Area hip-hop is “\u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">the product of pimps and hustlers just as much as activists and intellectuals\u003c/a>,” how do we uplift its innovative potential while holding space to look at all the ways it falls short?\u003c/p>\n\u003cp>Throughout my decade-plus of experience as an educator, MC and community organizer, I’ve seen firsthand how hip-hop’s glorification of pimp culture harms people of all genders. Pimping obviously predates hip-hop. But that doesn’t mean we should normalize antiquated ideas about gender, or push played-out power dynamics. We can sugarcoat the truth, but at its root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.\u003c/p>\n\u003cp>In my poetry classes in juve, the poem “Still I Rise” by Maya Angelou was a favorite, especially among incarcerated girls. Something about rising “like dust” against all odds resonated with them. Still I Rise is also the name of a recent creative collaboration among myself and the Bay Area-rooted rappers \u003ca href=\"https://www.kqed.org/arts/13890558/with-labor-ryannicole-uplifts-black-womens-invisible-work\">RyanNicole\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13915289/hip-hop-songs-lyrics-abortion\">Coco Peila\u003c/a>. Together we’ve created a three-part video podcast, \u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">\u003ci>What’s Pimpin’?\u003c/i>\u003c/a> A new episode drops each Wednesday on \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g\">KQED Arts & Culture’s YouTube channel\u003c/a> June 28–July 12, and our EP of the same title is coming soon. The project examines pimp culture, with a particular focus on misogynoir. Our goal: having tough conversations and cultivating solutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "We want to separate hip-hop culture from pimp culture, which mirrors the exploitation and domination of colonialism, slavery and racial capitalism.",
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"citation": "Maddy Clifford, artist and co-host of 'What's Pimpin'?'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite its flaws, Bay Area hip-hop is incredibly creative and full of liberatory potential. I saw this as a young rapper growing up in Seattle, when I had Andre Nickatina’s “\u003ca href=\"https://youtu.be/Ad4Bx8QCKSU\">Jungle\u003c/a>” on repeat. There was something wildly unique about his sound. He was nerdy — referencing \u003ci>Alice in Wonderland\u003c/i> and \u003ci>Star Wars\u003c/i> in his rhymes — yet dangerous. I could relate. Other Bay Area rappers shared my desire to use the music for revolutionary change. I sang along to Mystic’s “\u003ca href=\"https://youtu.be/GoK01XY52Uc\">The Life\u003c/a>” because it captured my passion to alleviate suffering. Bay Area hip-hop influenced my decision to move to Oakland in my early 20s, over a decade ago. It’s as multifaceted as the streets where it originates. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The conversations we’re having in \u003ci>What’s Pimpin’?\u003c/i> are challenging because critiquing Bay Area hip-hop can feel like airing out dirty laundry. The Bay Area often gets overlooked in the music industry despite its outsized influence. Since the \u003ca href=\"https://slate.com/podcasts/slow-burn/s3/biggie-and-tupac/e4/c-delores-tucker-against-hip-hop\">gangsta rap moral panic\u003c/a> of the early ’90s, white \u003ca href=\"https://apnews.com/article/a249c215c523dbd528710412cb91b193\">politicians\u003c/a>, pundits and other outsiders have bolstered their careers by vilifying hip-hop. And our racist criminal justice system has used \u003ca href=\"https://www.nbcnews.com/news/us-news/black-rappers-call-double-standard-using-hip-hop-lyrics-evidence-rappe-rcna65529\">rap lyrics to put people behind bars\u003c/a>. Fans are rightfully protective.\u003c/p>\n\u003cp>But as hip-hop artists who believe in gender equality, we want to push the culture forward. We want to separate hip-hop culture from pimp culture, which mirrors the exploitation and domination of colonialism, slavery and racial capitalism — it didn’t start in 1973 with the movie \u003ci>The Mack\u003c/i> and didn’t end the day Too Short got a \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">street named after him\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SIR-artists-2-800x533.jpg\" alt=\"Three young Black female MCs pose together wearing black. A shadow falls over their faces.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SIR-artists-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole, Coco Peila and Maddy Clifford are Still I Rise. \u003ccite>(DIFF WORKS LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapping about pimping is profitable, but behind the glamorous image are real-world statistics about how Black women and girls are particularly vulnerable to exploitation and violence. A 2011 study tracking a two-year period showed that \u003ca href=\"https://rights4girls.org/wp-content/uploads/2019/05/Racial-Disparties-FactSheet-_Jan-2021.pdf\">94% of U.S. sex-trafficking victims were female\u003c/a>. Of those victims, 40% were Black and 24% were Latinx. Meanwhile, buyers are overwhelmingly white men.\u003c/p>\n\u003cp>Protecting Black women and girls is particularly difficult because they’re less likely to be reported missing. According to a \u003ca href=\"https://www.oaklandca.gov/news/2023/council-unanimously-votes-in-favor-of-councilmember-reids-resolution-supporting-the-establishment-of-a-statewide-ebony-alert-to-help-locate-missing-black-women-and-girls\">May statement from Oakland City Councilmember Treva Reid\u003c/a>, of the 1,500 missing-persons cases in Oakland this year, 400 of them are Black women. The stakes couldn’t be higher.\u003c/p>\n\u003cp>I’m a firm believer in the kind of love that Assata Shakur describes as “contraband in hell.” She says it’s as powerful as “an acid that eats away bars.” If we love our Bay Area community, then we can’t expect to actualize that love without having some uncomfortable conversations. My love for the men in my community motivates me to hold them accountable instead of coddling harmful behavior. My love has inspired me to spend almost a decade uplifting youth trapped in jail cells. My love isn’t about censorship — it’s about owning up to what’s being said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I can’t love alone. I need men to step up and question their own conditioning. Our project \u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">\u003ci>What’s Pimpin’?\u003c/i>\u003c/a> isn’t the first to ask an age-old question about exploitation, coercion and control. I can only hope it won’t be the last.\u003c/p>\n\u003ch2>Resources\u003c/h2>\n\u003cp>The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 1-888-373-7888 or via text message at 233733.\u003c/p>\n\u003cp>\u003ca href=\"https://bayareaworkerssupport.org/\">Bay Area Worker Support\u003c/a> offers mutual aid, social support and resources to people working in the sex trade.\u003c/p>\n\u003cp>\u003ca href=\"https://www.loveneverfailsus.com/\">Love Never Fails\u003c/a> provides housing and support to human-trafficking survivors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510357/louder-than-a-riot\">\u003cem>Louder Than a Riot\u003c/em>\u003c/a>, an NPR Podcast, examines misogynoir and homophobia in hip-hop.\u003c/p>\n\u003cp>\u003ca href=\"https://misssey.org/\">MISSSEY\u003c/a> works to prevent girls and gender-expansive youth from being sexually exploited, and supports survivors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> offers free, confidential help for survivors of sexual violence at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://rights4girls.org/\">Rights4Girls\u003c/a> offers numerous educational resources about sex trafficking.\u003c/p>\n\u003cp>The \u003ca href=\"https://southbayendtrafficking.org/\">South Bay Coalition to End Human Trafficking\u003c/a> provides resources to survivors in Santa Clara and San Benito counties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.shademovement.org/about-us\">Survivors Healing, Advising and Dedicated to Empowerment (SHADE)\u003c/a> offers support groups, crisis response, peer counseling and more to human-trafficking survivors.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Banko Brown’s Black Trans Life Mattered",
"headTitle": "Banko Brown’s Black Trans Life Mattered | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>an Francisco has long positioned itself as a progressive foil for the rest of the country, especially in the realm of LGBTQ+ rights. And while red states scramble to pass increasingly hateful anti-trans laws, California has become a \u003ca href=\"https://www.kqed.org/news/11929233/california-becomes-first-sanctuary-state-for-transgender-youth-seeking-medical-care\">sanctuary state for trans youth healthcare\u003c/a>.\u003c/p>\n\u003cp>LGBTQ+ culture and history is rich and deep here. We have San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13901451/the-worlds-first-transgender-district-creates-a-support-system-in-san-francisco\">Transgender Cultural District\u003c/a>, the first of its kind in the world, tons of trans-inclusive nightlife spaces and a number of beloved, influential queer and trans folks in politics and the arts.\u003c/p>\n\u003cp>But undercutting all of that is a sheer disregard — and sometimes utter disdain — for this city’s poorest residents, a disproportionate number of whom are LGBTQ+. If San Francisco wants to live up to its progressive ideals, Banko Brown’s life must be treated like it actually mattered.\u003c/p>\n\u003cfigure id=\"attachment_13928880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/banko-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko.jpg 1392w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Banko Brown. \u003ccite>(GoFundMe/Illustration by Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown was a 24-year-old trans man shot and killed by a downtown Walgreens security guard, Michael Earle-Wayne Anthony, on April 27 on Market Street. San Francisco police have told reporters that Brown was suspected of shoplifting, and that he was unarmed.\u003c/p>\n\u003cp>Anthony was arrested, jailed and released three days later, when District Attorney Brooke Jenkins declined to file charges, claiming that the security guard acted in self-defense. But given the fact that Brown had no weapons on him, and that a \u003ca href=\"https://missionlocal.org/2023/05/walgreens-banko-brown-michael-earl-wayne-anthony-video/\">witness told Mission Local\u003c/a> that Anthony followed Brown outside and shot him in the chest, Jenkins’ decision has come under public scrutiny. On Monday, after pressure grew stronger, the DA asked the San Francisco Police Department to reopen the investigation. [aside postid='news_11948964']\u003c/p>\n\u003cp>Brown’s family and supporters are urging Jenkins to release the video of the shooting. (On May 9, San Francisco’s Board of Supervisors unanimously \u003ca href=\"https://www.kqed.org/news/11948964/san-francisco-supervisors-raise-pressure-on-da-to-release-video-of-banko-brown-killing\">passed a resolution asking Jenkins to release evidence\u003c/a>.)\u003c/p>\n\u003cp>Brown’s death is a gross illustration of the cruelty permeating San Francisco, a supposedly inclusive beacon. Brown was said to be homeless or housing insecure for the past 10 years, since he was 14 years old. This is a sadly common predicament for LGBTQ+ youth, especially trans youth, whose homelessness rates hover at close to 40%, often because of family rejection, according to a \u003ca href=\"https://www.thetrevorproject.org/wp-content/uploads/2022/02/Trevor-Project-Homelessness-Report.pdf\">2021 national survey from the Trevor Project\u003c/a>. According to Mayor London Breed’s office, trans and gender-nonconforming people are \u003ca href=\"https://sf.gov/news/mayor-london-breed-announces-housing-subsidies-transgender-and-gender-nonconforming\">18 times more likely to experience homelessness\u003c/a> than the rest of the population.\u003c/p>\n\u003cfigure id=\"attachment_13928894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People walk past a memorial for Banko Brown outside of a Walgreens in San Francisco on May 9, 2023, where he was shot to death by a store security guard on April 27. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sleeping on the street, as Brown — himself an advocate for trans rights at the \u003ca href=\"https://youngwomenfree.org/?gad=1&gclid=CjwKCAjw3ueiBhBmEiwA4BhspFyWOPlBO4kg2BS_6QPxZkEfYbJWTv-dijgkNYWCb9kWJb6kZ0DrVhoCpZwQAvD_BwE\">Young Women’s Freedom Center\u003c/a> — was said to have done recently, puts individuals in grave danger of violence. And being in moment-to-moment survival mode makes it incredibly challenging to access the labyrinthian bureaucracy of social services, let alone earn enough income to rent a room in San Francisco or the greater Bay Area.\u003c/p>\n\u003cp>Despite enormous structural problems — primarily the astronomical gap between the average rent and minimum wage — that make it difficult for poor San Franciscans to hold on to their housing, there’s a pervasively condescending attitude towards homelessness among the public. Many otherwise thoughtful people view this visible suffering as an inconvenience to the housed, rather than a human rights violation we step over and shun everyday. [ad fullwidth]\u003c/p>\n\u003cp>As wealth inequality and homelessness rates continue to grow, it’s inevitable that more people will steal for survival. And as the privileged among us continue to fixate on property crime and ignore root causes, more corporations like Walgreens will employ armed security guards to protect their property. (On the topic of of stealing, Walgreens \u003ca href=\"https://www.theguardian.com/commentisfree/2021/dec/07/want-to-be-a-criminal-in-america-stealing-billions-is-your-best-bet-to-go-scot-free\">recently paid $4.5 million\u003c/a> in a wage settlement with 2,650 California employees.)\u003c/p>\n\u003cp>Coupled with the news that, in New York during the same week, a homeless cis Black man, Jordan Neely, was \u003ca href=\"https://www.nytimes.com/2023/05/04/opinion/jordan-neely-killed.html\">killed by a vigilante for making a disturbance on a train\u003c/a>, it’s easy to imagine a future with more Banko Browns.\u003c/p>\n\u003cfigure id=\"attachment_13928897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster with a photo of Banko Brown says, ‘Gone But Never Forgotten’ on a fence outside of a Walgreens in San Francisco on May 9, 2023, where he was shot to death by a store security guard on April 27. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although activist movements have made gains towards police accountability over the past decade, the role of private security in violent oppression has largely gone unaddressed. Brown’s death calls to mind the \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">ongoing fight for justice for beloved Oakland hip-hop artist Zumbi\u003c/a>, who died after Alta Bates hospital staff and Allied Universal security guards piled on top of him while he was in treatment for a mental health crisis. His family’s lawyer compared his manner of death to that of George Floyd, and while the coroner ruled his death a homicide, former Alameda County District Attorney Nancy O’Malley initially declined to file charges. Like Jenkins, she \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">reopened the investigation\u003c/a>, which is still ongoing, after a massive public outcry.\u003c/p>\n\u003cp>These cases illustrate the difficulty of holding private security guards accountable for violence. Unlike police, their conduct is not public record, making it possible for the powerful, multinational corporations that employ them to make allegations disappear.\u003c/p>\n\u003cp>Many San Franciscans say they care about LGBTQ+ rights and racial justice, and Brown’s death shows that these issues run so much deeper than representation in entertainment and electoral politics. It means creating a city where all of us can live in dignity. Mayor Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-plan-end-trans-homelessness-2027\">vowed to end trans homelessness by 2027\u003c/a>. Right now, we’re far from it.\u003c/p>\n\u003cp>As one of Banko Brown’s supporters said during public comment at the May 2 San Francisco Board of Supervisors meeting, “The shit that’s being put on is a front. San Francisco is a front.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Banko Brown’s family is \u003ca href=\"https://www.gofundme.com/f/in-memory-and-support-for-banko-brown\">seeking support on GoFundMe\u003c/a>. Follow the \u003ca href=\"https://www.instagram.com/young_women_free/\">Young Women’s Freedom Center\u003c/a> for calls to action. \u003c/em>\u003c/p>\n\u003cp>\u003cem>This story was updated to include the result of the Board of Supervisors’ May 9 vote. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "His death underscores San Francisco's extreme inequality — and the violence used to enforce it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>an Francisco has long positioned itself as a progressive foil for the rest of the country, especially in the realm of LGBTQ+ rights. And while red states scramble to pass increasingly hateful anti-trans laws, California has become a \u003ca href=\"https://www.kqed.org/news/11929233/california-becomes-first-sanctuary-state-for-transgender-youth-seeking-medical-care\">sanctuary state for trans youth healthcare\u003c/a>.\u003c/p>\n\u003cp>LGBTQ+ culture and history is rich and deep here. We have San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13901451/the-worlds-first-transgender-district-creates-a-support-system-in-san-francisco\">Transgender Cultural District\u003c/a>, the first of its kind in the world, tons of trans-inclusive nightlife spaces and a number of beloved, influential queer and trans folks in politics and the arts.\u003c/p>\n\u003cp>But undercutting all of that is a sheer disregard — and sometimes utter disdain — for this city’s poorest residents, a disproportionate number of whom are LGBTQ+. If San Francisco wants to live up to its progressive ideals, Banko Brown’s life must be treated like it actually mattered.\u003c/p>\n\u003cfigure id=\"attachment_13928880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/banko-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/banko.jpg 1392w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Banko Brown. \u003ccite>(GoFundMe/Illustration by Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown was a 24-year-old trans man shot and killed by a downtown Walgreens security guard, Michael Earle-Wayne Anthony, on April 27 on Market Street. San Francisco police have told reporters that Brown was suspected of shoplifting, and that he was unarmed.\u003c/p>\n\u003cp>Anthony was arrested, jailed and released three days later, when District Attorney Brooke Jenkins declined to file charges, claiming that the security guard acted in self-defense. But given the fact that Brown had no weapons on him, and that a \u003ca href=\"https://missionlocal.org/2023/05/walgreens-banko-brown-michael-earl-wayne-anthony-video/\">witness told Mission Local\u003c/a> that Anthony followed Brown outside and shot him in the chest, Jenkins’ decision has come under public scrutiny. On Monday, after pressure grew stronger, the DA asked the San Francisco Police Department to reopen the investigation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brown’s family and supporters are urging Jenkins to release the video of the shooting. (On May 9, San Francisco’s Board of Supervisors unanimously \u003ca href=\"https://www.kqed.org/news/11948964/san-francisco-supervisors-raise-pressure-on-da-to-release-video-of-banko-brown-killing\">passed a resolution asking Jenkins to release evidence\u003c/a>.)\u003c/p>\n\u003cp>Brown’s death is a gross illustration of the cruelty permeating San Francisco, a supposedly inclusive beacon. Brown was said to be homeless or housing insecure for the past 10 years, since he was 14 years old. This is a sadly common predicament for LGBTQ+ youth, especially trans youth, whose homelessness rates hover at close to 40%, often because of family rejection, according to a \u003ca href=\"https://www.thetrevorproject.org/wp-content/uploads/2022/02/Trevor-Project-Homelessness-Report.pdf\">2021 national survey from the Trevor Project\u003c/a>. According to Mayor London Breed’s office, trans and gender-nonconforming people are \u003ca href=\"https://sf.gov/news/mayor-london-breed-announces-housing-subsidies-transgender-and-gender-nonconforming\">18 times more likely to experience homelessness\u003c/a> than the rest of the population.\u003c/p>\n\u003cfigure id=\"attachment_13928894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/009_KQED_WalgreensBankoBrown_05092023.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People walk past a memorial for Banko Brown outside of a Walgreens in San Francisco on May 9, 2023, where he was shot to death by a store security guard on April 27. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sleeping on the street, as Brown — himself an advocate for trans rights at the \u003ca href=\"https://youngwomenfree.org/?gad=1&gclid=CjwKCAjw3ueiBhBmEiwA4BhspFyWOPlBO4kg2BS_6QPxZkEfYbJWTv-dijgkNYWCb9kWJb6kZ0DrVhoCpZwQAvD_BwE\">Young Women’s Freedom Center\u003c/a> — was said to have done recently, puts individuals in grave danger of violence. And being in moment-to-moment survival mode makes it incredibly challenging to access the labyrinthian bureaucracy of social services, let alone earn enough income to rent a room in San Francisco or the greater Bay Area.\u003c/p>\n\u003cp>Despite enormous structural problems — primarily the astronomical gap between the average rent and minimum wage — that make it difficult for poor San Franciscans to hold on to their housing, there’s a pervasively condescending attitude towards homelessness among the public. Many otherwise thoughtful people view this visible suffering as an inconvenience to the housed, rather than a human rights violation we step over and shun everyday. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As wealth inequality and homelessness rates continue to grow, it’s inevitable that more people will steal for survival. And as the privileged among us continue to fixate on property crime and ignore root causes, more corporations like Walgreens will employ armed security guards to protect their property. (On the topic of of stealing, Walgreens \u003ca href=\"https://www.theguardian.com/commentisfree/2021/dec/07/want-to-be-a-criminal-in-america-stealing-billions-is-your-best-bet-to-go-scot-free\">recently paid $4.5 million\u003c/a> in a wage settlement with 2,650 California employees.)\u003c/p>\n\u003cp>Coupled with the news that, in New York during the same week, a homeless cis Black man, Jordan Neely, was \u003ca href=\"https://www.nytimes.com/2023/05/04/opinion/jordan-neely-killed.html\">killed by a vigilante for making a disturbance on a train\u003c/a>, it’s easy to imagine a future with more Banko Browns.\u003c/p>\n\u003cfigure id=\"attachment_13928897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/001_KQED_WalgreensBankoBrown_05092023.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster with a photo of Banko Brown says, ‘Gone But Never Forgotten’ on a fence outside of a Walgreens in San Francisco on May 9, 2023, where he was shot to death by a store security guard on April 27. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although activist movements have made gains towards police accountability over the past decade, the role of private security in violent oppression has largely gone unaddressed. Brown’s death calls to mind the \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">ongoing fight for justice for beloved Oakland hip-hop artist Zumbi\u003c/a>, who died after Alta Bates hospital staff and Allied Universal security guards piled on top of him while he was in treatment for a mental health crisis. His family’s lawyer compared his manner of death to that of George Floyd, and while the coroner ruled his death a homicide, former Alameda County District Attorney Nancy O’Malley initially declined to file charges. Like Jenkins, she \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">reopened the investigation\u003c/a>, which is still ongoing, after a massive public outcry.\u003c/p>\n\u003cp>These cases illustrate the difficulty of holding private security guards accountable for violence. Unlike police, their conduct is not public record, making it possible for the powerful, multinational corporations that employ them to make allegations disappear.\u003c/p>\n\u003cp>Many San Franciscans say they care about LGBTQ+ rights and racial justice, and Brown’s death shows that these issues run so much deeper than representation in entertainment and electoral politics. It means creating a city where all of us can live in dignity. Mayor Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-plan-end-trans-homelessness-2027\">vowed to end trans homelessness by 2027\u003c/a>. Right now, we’re far from it.\u003c/p>\n\u003cp>As one of Banko Brown’s supporters said during public comment at the May 2 San Francisco Board of Supervisors meeting, “The shit that’s being put on is a front. San Francisco is a front.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Banko Brown’s family is \u003ca href=\"https://www.gofundme.com/f/in-memory-and-support-for-banko-brown\">seeking support on GoFundMe\u003c/a>. Follow the \u003ca href=\"https://www.instagram.com/young_women_free/\">Young Women’s Freedom Center\u003c/a> for calls to action. \u003c/em>\u003c/p>\n\u003cp>\u003cem>This story was updated to include the result of the Board of Supervisors’ May 9 vote. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "how-watching-the-warriors-helped-me-process-my-fathers-death",
"title": "How Watching the Warriors Helped Me Process My Father’s Death",
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"content": "\u003cfigure id=\"attachment_13928761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.WarriorsGame.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928761 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.WarriorsGame-800x600.jpg\" alt=\"a young white man in a flannel shirt and an older man, his father, in a blue button up shirt, with their arms around each other, smiling for the camera at a basketball game\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author and his father, John, at a Warriors game. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ome of my clearest memories from childhood take place around basketball courts. While I never really played beyond the school yard with friends, my dad did. There was a rec league at his work, and my dad had games every week, it seemed. These games often happened to be on the Tuesdays or every-other-weekends that my brother and I spent with him starting around when I was seven.\u003c/p>\n\u003cp>A chemical engineer by trade and standing 6’2”, my dad wasn’t an amazing athlete, but he would work his ass off out there. He’d make the occasional shot, but he was an absolute pest on defense. He always took us home straight after the final whistle blew, and the scent of his sweat would take over every cubic inch of airspace in his big brown Buick. It smelled aggressively sweet, somehow, and he never stank, aside from his shoes — the original Nike Air Jordans from 1985. One year he hurt his leg on the court but kept playing for the rest of the game. He only realized that he’d broken it the next day when it swelled up like a balloon, and I believe that was the end of his intramural career.\u003c/p>\n\u003cfigure id=\"attachment_13928759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.hs_.team_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.hs_.team_-800x584.jpg\" alt=\"a black and white photo shows a high school basketball team from the 1960s\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-1536x1122.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John’s high school basketball team — he’s fourth from the left, No. 5. Chevy Chase, MD, 1965. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dad was always looking for cheap things he could do with us when it was his weekend with the boys. We lived about 20 minutes from the Oakland Coliseum, so that meant a lot of bleacher and upper-deck seats for A’s games. But once a year or so we’d get to go see the Warriors as a special treat. This was back during the Run TMC days, when they were so good, yet somehow only ever won a single playoff series. We blamed Don Nelson, who we agreed was a great coach, but somehow also very bad at coaching. I remember seeing Manute Bol taking impossibly long strides down the court, still the tallest human I’ve ever seen with my own eyes. Then our hopes fell to Latrell Sprewell and then Chris Webber to be the team’s savior, but it never panned out. We would still go every year, if only as a pretext for hitting Flint’s BBQ before the game.\u003c/p>\n\u003cp>As rosy as that all sounds, the truth was my dad and I didn’t get along very well. He and I fought bitterly and frequently. By the time I was a junior in high school, I’d stopped going to his house at all, and we didn’t go to games anymore, either. While we’d still see each other, it was better when we kept our distance.\u003c/p>\n\u003cp>Time has a way of mellowing people, though. We started actively — if casually — working on repairing our relationship when I was in my 20s and living in New York. Then, in 2007, he called me to tell me that he had prostate cancer, and I realized that I needed to try to let go of whatever grudges I still harbored and do my best to enjoy however much time I was going to get with him. He was 60 years old and stage 4, but he assured me that there were a lot of treatment options available, and he was going to do everything he could to stick around for a long time. And he did.\u003c/p>\n\u003cfigure id=\"attachment_13928758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.trail_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.trail_-800x450.jpg\" alt=\"a group of four men, two younger, two older, pose behind a sign that reads 'Bright angel trailhead' \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author, his father, his brother Matt, and his dad’s best friend Butch after they climbed out of the Grand Canyon for a camping trip to celebrate John’s 70th birthday. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I moved back to California in 2013, and though I lived in LA, visiting the Bay was a whole lot easier. At the same time, my dad started showing interest in the NBA again. “We should go see a Warriors game again next time you’re in town,” he said one day. “They’ve got these three young guys named Steph, Klay, and Draymond, and they’re just amazing!” I think I just harumphed. I hadn’t paid attention to the NBA in years, and I think I flashed back to the close-but-not-quite trio from my youth. I’d been hurt before. But I was still looking for ways to reconnect with my dad, so I said sure. We started going once a year again, and obviously it turned out to be a pretty good era to reemerge from a 20-year basketball coma as a Warriors fan.\u003c/p>\n\u003cp>It’s not a stretch to say that the Warriors brought us closer together over the next decade. We’d watch games on TV together whenever I was in town. We’d even pick which nights I’d come over based on whether a game would be on. When I was away, if one of us texted the other, “You watching?” we both knew exactly what that meant. If we were both tuned in, we’d text back and forth, or sometimes after the game. “Curry got 51 tonight — did you see it?” (Feb. 25, 2016), or “Klay got something like 51 in 26 minutes (including 14 threes)” (Oct. 29, 2018). Even when we weren’t together, watching those games and talking about them made us feel closer. I got sucked back into NBA fandom, and my bond with my dad was stronger than it had ever been.[aside postid='arts_13922115']\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y dad was lucky that his treatments were generally mild, and he experienced virtually no symptoms for most of his time living with cancer. That streak lasted for the better part of a whopping 13 years. Things took a turn, though, right around when COVID hit. It had spread throughout his lymphatic system, and it was in his spine, all of which caused him incredible pain in his back and legs. His treatments got more aggressive, his side effects got wildly more unpleasant, and he got less and less benefit from each subsequent treatment.\u003c/p>\n\u003cp>In February 2022, he told the family that he was done fighting and would be entering home hospice, receiving palliative care, but no more treatment. I asked him if he was sure he was ready to throw in the towel. “The wheels are coming off, Brent,” he told me. “This body is used up, and it’s just no fun being in it anymore.” How can you argue with that? A couple weeks later he announced that on April 18, he would be making his big exit. California recently became a Death with Dignity / Right-to-Die state, and my brother and my dad’s siblings could all be there the weekend leading up to that Monday. As hard as it was, none of us tried to talk him out of it.\u003c/p>\n\u003cp>I was fortunate that I had booked a TV gig shooting in San Jose that started that January. Since retiring, my dad lived just over the mountains in Santa Cruz, which meant I got to visit him pretty much every week. After their two injury-riddled seasons, the Warriors were finally good again, and we watched any weekend games they played — along with his new wife, who was now hooked on the Dubs, too. Dad was over the moon to see Klay Thompson come back, his wife’s favorite was the promising rookie Jonathan Kuminga, and we all marveled any time Curry was on one. Pops was less mobile by this point, but he could put his feet up, pop an edible, and still enjoy the game, sometimes while donning his inflatable lymphedema compression pants.\u003c/p>\n\u003cfigure id=\"attachment_13928763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.teren_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.teren_-800x563.jpg\" alt=\"an older woman and man with grey hair smiling at a dinner table. she wears an orange hoodie over a striped black and white shirt and he wears a blue and yellow warriors jersey\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John — wearing the jersey he would later give his son, claiming it was new — and his wife Teren in 2020. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The last thing we ever watched together was Game 1 of the Warriors’ first playoff series against the Nuggets on April 16. The Warriors won 123 to 107, but my dad had fallen asleep by halftime, and though he had DVR’d it, we never got around to watching the ending. He used every last bit of his energy that weekend spending time with his family, tying up loose ends, and, ever the goofball, wearing gigantic, fuzzy bunny ears on Easter. While going through some boxes in his garage, I found that pair of original Jordans he used to play in. I was amazed that he’d had the good sense to keep them. He said I should have them, and my brother and stepmom agreed.\u003c/p>\n\u003cp class=\"p1\">On the morning of Monday, April 18, the whole family showed up wearing Hawaiian shirts, as he had requested. He didn’t want his death to be a somber affair. The prior Christmas he had gifted me a Steph Curry jersey, making a point of telling me it was brand-new, which I thought was a bit odd. I’ve never been the jersey-wearing type, as I always kind of thought of it as “big boy cosplay for bros,” but for the occasion I wore the jersey with the Hawaiian shirt unbuttoned so he could see it. I would later find out that it was actually his jersey, which he was sneakily regifting to me, but that just made it more special to me.\u003c/p>\n\u003cp>He had decided a month in advance that he would take the life-ending medication at 10 a.m., and that, before then, each of his family members would go into his bedroom to have two or three minutes of one-on-one time with him. I was the second-to-last to go in.\u003c/p>\n\u003cp>“Hey! You’re wearing that jersey!” he exclaimed when I came in and sat on the bed next to him. “It looks good on you! Boy, Curry is just amazing. I don’t think there will ever be a better shooter.”\u003c/p>\n\u003cp>“Yeah, he’s great, Dad…”\u003c/p>\n\u003cp>“You should check my dresser, though, because I used to have a Kobe jersey, too. Did you ever watch him? Man, 81 points in a game! I’ve never seen anything like it! He could score from anywhere…”\u003c/p>\n\u003cp>At this point I had to interrupt to remind him that these were my last two minutes with him ever, so maybe we should talk about something other than basketball. “Oh yeah, okay, good point, good point,” he said, but he added that if he could, he would try to help the Warriors in their postseason run from the other side. He also thought it would be a good time to take one last selfie together.\u003c/p>\n\u003cfigure id=\"attachment_13928762\" class=\"wp-caption aligncenter\" style=\"max-width: 561px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Selfie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Selfie.jpg\" alt=\"a young man in a blue and yellow warriors jersey next to an older man with grey hair in a white coat, both smiling for the camera.\" width=\"561\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Selfie.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Selfie-160x213.jpg 160w\" sizes=\"(max-width: 561px) 100vw, 561px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author and his father. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y dad’s death was about as sweet and as perfect as any of us could hope for. More importantly, it went just the way he’d hoped. While that helps soften the blow a little, it was still an emotional A-bomb. My dad lived with stage 4 cancer for an incredible 15 years, finally giving up the ghost at the age of 75 (like his father, and his father before him). When I sent out the email to all his friends and relatives, he instructed me to use the subject line, “John has left the building!” He was a funny guy to the very end.\u003c/p>\n\u003cp>I’ve never been religious or prone to magical thinking, but something happens when, minutes before your dad dies, he effectively says, “I’ll try to help the Warriors from the spirit realm.” Even if you don’t really believe it, you’re hoping for some sign or confirmation that your loved one is still out there, existing in one form or another. It wasn’t subtle for me. Starting with Game 2 of the series, the evening after he died, I found myself looking for meaning in every clutch three, like, “Was that you, Dad?” The Warriors won that game by 20.\u003c/p>\n\u003cp>I probably don’t have to tell you that the Warriors won the 21/22 Championship. Watching Game 6 in a hotel room in San Diego and wearing the Curry jersey, as a win looked inevitable in late the fourth quarter, I felt like I was losing my mind. The Warriors had been considered underdogs that season. After that final conversation with my dad, it was just too poetic, too storybook-ending to be real. When the final horn blew, I cheered and cried like I never had before while watching any game in any sport in my life. It felt like the closing of a chapter.\u003c/p>\n\u003cfigure id=\"attachment_13928764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.jordans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.jordans-800x602.jpg\" alt=\"a pair of vintage red, white and black Nike Air Jordans\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-1536x1156.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John’s original Air Jordan 1 sneakers. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My dad’s well-used Air Jordan 1s now sit in a case on my bookshelf. To this day, I still watch almost every Warriors game, and now my stepmom and I text about it, like me and my dad did. It’s been the weirdest season for the Dubs — maybe my dad had better things to do in the afterlife than try to shepherd them along to another title. But as the one-year anniversary of his passing arrived, and as the Warriors continue in the playoffs again, watching them has continued to be a great comfort. I still miss him a lot, and I imagine I will for the rest of my life. But when a game is on, I can still hear him hooting and hollering. Remembering his almost cartoonish “Yahoooo!”makes him feel not quite so far away.\u003c/p>\n\u003cp>I’m still watching, Dad. I wonder if you are, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>Brent Rose is a journalist, actor and filmmaker\u003c/em>. \u003cem>Find him online at \u003ca href=\"http://www.brentrose.com\">brentrose.com\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13928761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.WarriorsGame.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928761 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.WarriorsGame-800x600.jpg\" alt=\"a young white man in a flannel shirt and an older man, his father, in a blue button up shirt, with their arms around each other, smiling for the camera at a basketball game\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.WarriorsGame.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author and his father, John, at a Warriors game. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ome of my clearest memories from childhood take place around basketball courts. While I never really played beyond the school yard with friends, my dad did. There was a rec league at his work, and my dad had games every week, it seemed. These games often happened to be on the Tuesdays or every-other-weekends that my brother and I spent with him starting around when I was seven.\u003c/p>\n\u003cp>A chemical engineer by trade and standing 6’2”, my dad wasn’t an amazing athlete, but he would work his ass off out there. He’d make the occasional shot, but he was an absolute pest on defense. He always took us home straight after the final whistle blew, and the scent of his sweat would take over every cubic inch of airspace in his big brown Buick. It smelled aggressively sweet, somehow, and he never stank, aside from his shoes — the original Nike Air Jordans from 1985. One year he hurt his leg on the court but kept playing for the rest of the game. He only realized that he’d broken it the next day when it swelled up like a balloon, and I believe that was the end of his intramural career.\u003c/p>\n\u003cfigure id=\"attachment_13928759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.hs_.team_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.hs_.team_-800x584.jpg\" alt=\"a black and white photo shows a high school basketball team from the 1960s\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_-1536x1122.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.hs_.team_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John’s high school basketball team — he’s fourth from the left, No. 5. Chevy Chase, MD, 1965. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dad was always looking for cheap things he could do with us when it was his weekend with the boys. We lived about 20 minutes from the Oakland Coliseum, so that meant a lot of bleacher and upper-deck seats for A’s games. But once a year or so we’d get to go see the Warriors as a special treat. This was back during the Run TMC days, when they were so good, yet somehow only ever won a single playoff series. We blamed Don Nelson, who we agreed was a great coach, but somehow also very bad at coaching. I remember seeing Manute Bol taking impossibly long strides down the court, still the tallest human I’ve ever seen with my own eyes. Then our hopes fell to Latrell Sprewell and then Chris Webber to be the team’s savior, but it never panned out. We would still go every year, if only as a pretext for hitting Flint’s BBQ before the game.\u003c/p>\n\u003cp>As rosy as that all sounds, the truth was my dad and I didn’t get along very well. He and I fought bitterly and frequently. By the time I was a junior in high school, I’d stopped going to his house at all, and we didn’t go to games anymore, either. While we’d still see each other, it was better when we kept our distance.\u003c/p>\n\u003cp>Time has a way of mellowing people, though. We started actively — if casually — working on repairing our relationship when I was in my 20s and living in New York. Then, in 2007, he called me to tell me that he had prostate cancer, and I realized that I needed to try to let go of whatever grudges I still harbored and do my best to enjoy however much time I was going to get with him. He was 60 years old and stage 4, but he assured me that there were a lot of treatment options available, and he was going to do everything he could to stick around for a long time. And he did.\u003c/p>\n\u003cfigure id=\"attachment_13928758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.trail_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.trail_-800x450.jpg\" alt=\"a group of four men, two younger, two older, pose behind a sign that reads 'Bright angel trailhead' \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.trail_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author, his father, his brother Matt, and his dad’s best friend Butch after they climbed out of the Grand Canyon for a camping trip to celebrate John’s 70th birthday. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I moved back to California in 2013, and though I lived in LA, visiting the Bay was a whole lot easier. At the same time, my dad started showing interest in the NBA again. “We should go see a Warriors game again next time you’re in town,” he said one day. “They’ve got these three young guys named Steph, Klay, and Draymond, and they’re just amazing!” I think I just harumphed. I hadn’t paid attention to the NBA in years, and I think I flashed back to the close-but-not-quite trio from my youth. I’d been hurt before. But I was still looking for ways to reconnect with my dad, so I said sure. We started going once a year again, and obviously it turned out to be a pretty good era to reemerge from a 20-year basketball coma as a Warriors fan.\u003c/p>\n\u003cp>It’s not a stretch to say that the Warriors brought us closer together over the next decade. We’d watch games on TV together whenever I was in town. We’d even pick which nights I’d come over based on whether a game would be on. When I was away, if one of us texted the other, “You watching?” we both knew exactly what that meant. If we were both tuned in, we’d text back and forth, or sometimes after the game. “Curry got 51 tonight — did you see it?” (Feb. 25, 2016), or “Klay got something like 51 in 26 minutes (including 14 threes)” (Oct. 29, 2018). Even when we weren’t together, watching those games and talking about them made us feel closer. I got sucked back into NBA fandom, and my bond with my dad was stronger than it had ever been.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y dad was lucky that his treatments were generally mild, and he experienced virtually no symptoms for most of his time living with cancer. That streak lasted for the better part of a whopping 13 years. Things took a turn, though, right around when COVID hit. It had spread throughout his lymphatic system, and it was in his spine, all of which caused him incredible pain in his back and legs. His treatments got more aggressive, his side effects got wildly more unpleasant, and he got less and less benefit from each subsequent treatment.\u003c/p>\n\u003cp>In February 2022, he told the family that he was done fighting and would be entering home hospice, receiving palliative care, but no more treatment. I asked him if he was sure he was ready to throw in the towel. “The wheels are coming off, Brent,” he told me. “This body is used up, and it’s just no fun being in it anymore.” How can you argue with that? A couple weeks later he announced that on April 18, he would be making his big exit. California recently became a Death with Dignity / Right-to-Die state, and my brother and my dad’s siblings could all be there the weekend leading up to that Monday. As hard as it was, none of us tried to talk him out of it.\u003c/p>\n\u003cp>I was fortunate that I had booked a TV gig shooting in San Jose that started that January. Since retiring, my dad lived just over the mountains in Santa Cruz, which meant I got to visit him pretty much every week. After their two injury-riddled seasons, the Warriors were finally good again, and we watched any weekend games they played — along with his new wife, who was now hooked on the Dubs, too. Dad was over the moon to see Klay Thompson come back, his wife’s favorite was the promising rookie Jonathan Kuminga, and we all marveled any time Curry was on one. Pops was less mobile by this point, but he could put his feet up, pop an edible, and still enjoy the game, sometimes while donning his inflatable lymphedema compression pants.\u003c/p>\n\u003cfigure id=\"attachment_13928763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.teren_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.teren_-800x563.jpg\" alt=\"an older woman and man with grey hair smiling at a dinner table. she wears an orange hoodie over a striped black and white shirt and he wears a blue and yellow warriors jersey\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.teren_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John — wearing the jersey he would later give his son, claiming it was new — and his wife Teren in 2020. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The last thing we ever watched together was Game 1 of the Warriors’ first playoff series against the Nuggets on April 16. The Warriors won 123 to 107, but my dad had fallen asleep by halftime, and though he had DVR’d it, we never got around to watching the ending. He used every last bit of his energy that weekend spending time with his family, tying up loose ends, and, ever the goofball, wearing gigantic, fuzzy bunny ears on Easter. While going through some boxes in his garage, I found that pair of original Jordans he used to play in. I was amazed that he’d had the good sense to keep them. He said I should have them, and my brother and stepmom agreed.\u003c/p>\n\u003cp class=\"p1\">On the morning of Monday, April 18, the whole family showed up wearing Hawaiian shirts, as he had requested. He didn’t want his death to be a somber affair. The prior Christmas he had gifted me a Steph Curry jersey, making a point of telling me it was brand-new, which I thought was a bit odd. I’ve never been the jersey-wearing type, as I always kind of thought of it as “big boy cosplay for bros,” but for the occasion I wore the jersey with the Hawaiian shirt unbuttoned so he could see it. I would later find out that it was actually his jersey, which he was sneakily regifting to me, but that just made it more special to me.\u003c/p>\n\u003cp>He had decided a month in advance that he would take the life-ending medication at 10 a.m., and that, before then, each of his family members would go into his bedroom to have two or three minutes of one-on-one time with him. I was the second-to-last to go in.\u003c/p>\n\u003cp>“Hey! You’re wearing that jersey!” he exclaimed when I came in and sat on the bed next to him. “It looks good on you! Boy, Curry is just amazing. I don’t think there will ever be a better shooter.”\u003c/p>\n\u003cp>“Yeah, he’s great, Dad…”\u003c/p>\n\u003cp>“You should check my dresser, though, because I used to have a Kobe jersey, too. Did you ever watch him? Man, 81 points in a game! I’ve never seen anything like it! He could score from anywhere…”\u003c/p>\n\u003cp>At this point I had to interrupt to remind him that these were my last two minutes with him ever, so maybe we should talk about something other than basketball. “Oh yeah, okay, good point, good point,” he said, but he added that if he could, he would try to help the Warriors in their postseason run from the other side. He also thought it would be a good time to take one last selfie together.\u003c/p>\n\u003cfigure id=\"attachment_13928762\" class=\"wp-caption aligncenter\" style=\"max-width: 561px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Selfie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Selfie.jpg\" alt=\"a young man in a blue and yellow warriors jersey next to an older man with grey hair in a white coat, both smiling for the camera.\" width=\"561\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Selfie.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Selfie-160x213.jpg 160w\" sizes=\"(max-width: 561px) 100vw, 561px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author and his father. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y dad’s death was about as sweet and as perfect as any of us could hope for. More importantly, it went just the way he’d hoped. While that helps soften the blow a little, it was still an emotional A-bomb. My dad lived with stage 4 cancer for an incredible 15 years, finally giving up the ghost at the age of 75 (like his father, and his father before him). When I sent out the email to all his friends and relatives, he instructed me to use the subject line, “John has left the building!” He was a funny guy to the very end.\u003c/p>\n\u003cp>I’ve never been religious or prone to magical thinking, but something happens when, minutes before your dad dies, he effectively says, “I’ll try to help the Warriors from the spirit realm.” Even if you don’t really believe it, you’re hoping for some sign or confirmation that your loved one is still out there, existing in one form or another. It wasn’t subtle for me. Starting with Game 2 of the series, the evening after he died, I found myself looking for meaning in every clutch three, like, “Was that you, Dad?” The Warriors won that game by 20.\u003c/p>\n\u003cp>I probably don’t have to tell you that the Warriors won the 21/22 Championship. Watching Game 6 in a hotel room in San Diego and wearing the Curry jersey, as a win looked inevitable in late the fourth quarter, I felt like I was losing my mind. The Warriors had been considered underdogs that season. After that final conversation with my dad, it was just too poetic, too storybook-ending to be real. When the final horn blew, I cheered and cried like I never had before while watching any game in any sport in my life. It felt like the closing of a chapter.\u003c/p>\n\u003cfigure id=\"attachment_13928764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.jordans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/br.jordans-800x602.jpg\" alt=\"a pair of vintage red, white and black Nike Air Jordans\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans-1536x1156.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/br.jordans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John’s original Air Jordan 1 sneakers. \u003ccite>(Courtesy Brent Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My dad’s well-used Air Jordan 1s now sit in a case on my bookshelf. To this day, I still watch almost every Warriors game, and now my stepmom and I text about it, like me and my dad did. It’s been the weirdest season for the Dubs — maybe my dad had better things to do in the afterlife than try to shepherd them along to another title. But as the one-year anniversary of his passing arrived, and as the Warriors continue in the playoffs again, watching them has continued to be a great comfort. I still miss him a lot, and I imagine I will for the rest of my life. But when a game is on, I can still hear him hooting and hollering. Remembering his almost cartoonish “Yahoooo!”makes him feel not quite so far away.\u003c/p>\n\u003cp>I’m still watching, Dad. I wonder if you are, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>Brent Rose is a journalist, actor and filmmaker\u003c/em>. \u003cem>Find him online at \u003ca href=\"http://www.brentrose.com\">brentrose.com\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"perspectives": {
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"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",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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