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"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\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\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\">“T\u003c/span>he breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\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\">I\u003c/span> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n",
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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\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\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\">“T\u003c/span>he breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\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\">I\u003c/span> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How One Apocalyptic BBC Movie Scarred a Generation of U.K. Schoolchildren",
"headTitle": "How One Apocalyptic BBC Movie Scarred a Generation of U.K. Schoolchildren | KQED",
"content": "\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\n\u003cp>https://twitter.com/mrjimbecks/status/1176097881331290113\u003c/p>\n\u003cp>https://twitter.com/PublicBenjamin/status/1176209518604296192\u003c/p>\n\u003cp>https://twitter.com/linecon0/status/1176072657391038465\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vgT4Y30DkaA\u003c/p>\n\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=120wGLgCTkg\u003c/p>\n\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\n\u003cp>https://twitter.com/MrJSnod/status/1176138007205863424\u003c/p>\n\u003cp>https://twitter.com/DavidWPoole73/status/1176189847268184069\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JudasDJs/status/1176069665057071105\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vgT4Y30DkaA'\n title='//www.youtube.com/embed/vgT4Y30DkaA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\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/120wGLgCTkg'\n title='//www.youtube.com/embed/120wGLgCTkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\u003c/p>\u003c/div>",
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"title": "In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams",
"headTitle": "In Golden Age Hollywood, Film Stars Slid Into Each Others’ Telegrams | KQED",
"content": "\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>Every October since 2015, Oakland’s historic Camron-Stanford House explores the fascinating history of Victorian mourning culture with its \u003cem>Morbid Desire\u003c/em> exhibit. It features a range of authentic dresses, accessories and jewelry (including some amazing human hair rings), along with a wealth of information about the rules and social expectations imposed on mourners of the era.\u003c/p>\n\u003cp>This year’s three-week run focuses in particular on how funeral rites evolved during the Victorian era, from something families did at home into a cottage industry. Camron-Stanford’s period rooms will also be specially dressed for mourning.\u003c/p>\n\u003cp>In addition, there will be two special, supplementary events. On Saturday, Oct. 19, there will be two \u003ca href=\"https://bpt.me/4355179\" target=\"_blank\" rel=\"noopener\">candlelit night tours\u003c/a> of the exhibit (at 6pm and 7pm), followed by “a drink and some spooky fun” on the house’s Lake Merritt-adjacent veranda. On Sunday, Oct. 20, \u003ca href=\"https://www.langantiques.com/about-us/staff\" target=\"_blank\" rel=\"noopener\">Nicole Corsini\u003c/a> of Lang Antique & Estate Jewelry will be giving an \u003ca href=\"https://cshouse.org/event/the-art-of-mourning/\" target=\"_blank\" rel=\"noopener\">hour-long talk\u003c/a> about memento mori and “the history, symbols and myths that surround fashionable Victorian era mourning jewelry,” with a tour of the exhibit to follow.\u003c/p>\n\u003cfigure id=\"attachment_13867011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-4-800x971.jpg\" alt=\"Accessories featured at the 2017 Morbid Desire exhibit.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4-768x933.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4.jpg 835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Accessories featured at the 2017 Morbid Desire exhibit. \u003ccite>(Camron-Stanford House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Built in 1876, the Camron-Stanford House is a Bay Area historical treasure. In addition to fascinating local history buffs, the picturesque home also doubles as a wedding venue,\u003ca href=\"https://cshouse.org/teas/\" target=\"_blank\" rel=\"noopener\"> afternoon tea\u003c/a> destination and an occasional \u003ca href=\"https://cshouse.org/event/biergarten-at-the-lake/\" target=\"_blank\" rel=\"noopener\">food truck location\u003c/a>. \u003cem>Morbid Desire \u003c/em>remains one of its most popular events. No wonder—it’s one of the best, not to mention most stylish, ways to get in the mood for Halloween.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Morbid Desire tours will take place every Sunday in October at 1pm, 2pm and 3pm. Advanced tickets are available for the Oct. 19 candlelit tours only.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>Every October since 2015, Oakland’s historic Camron-Stanford House explores the fascinating history of Victorian mourning culture with its \u003cem>Morbid Desire\u003c/em> exhibit. It features a range of authentic dresses, accessories and jewelry (including some amazing human hair rings), along with a wealth of information about the rules and social expectations imposed on mourners of the era.\u003c/p>\n\u003cp>This year’s three-week run focuses in particular on how funeral rites evolved during the Victorian era, from something families did at home into a cottage industry. Camron-Stanford’s period rooms will also be specially dressed for mourning.\u003c/p>\n\u003cp>In addition, there will be two special, supplementary events. On Saturday, Oct. 19, there will be two \u003ca href=\"https://bpt.me/4355179\" target=\"_blank\" rel=\"noopener\">candlelit night tours\u003c/a> of the exhibit (at 6pm and 7pm), followed by “a drink and some spooky fun” on the house’s Lake Merritt-adjacent veranda. On Sunday, Oct. 20, \u003ca href=\"https://www.langantiques.com/about-us/staff\" target=\"_blank\" rel=\"noopener\">Nicole Corsini\u003c/a> of Lang Antique & Estate Jewelry will be giving an \u003ca href=\"https://cshouse.org/event/the-art-of-mourning/\" target=\"_blank\" rel=\"noopener\">hour-long talk\u003c/a> about memento mori and “the history, symbols and myths that surround fashionable Victorian era mourning jewelry,” with a tour of the exhibit to follow.\u003c/p>\n\u003cfigure id=\"attachment_13867011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-4-800x971.jpg\" alt=\"Accessories featured at the 2017 Morbid Desire exhibit.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4-768x933.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-4.jpg 835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Accessories featured at the 2017 Morbid Desire exhibit. \u003ccite>(Camron-Stanford House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Built in 1876, the Camron-Stanford House is a Bay Area historical treasure. In addition to fascinating local history buffs, the picturesque home also doubles as a wedding venue,\u003ca href=\"https://cshouse.org/teas/\" target=\"_blank\" rel=\"noopener\"> afternoon tea\u003c/a> destination and an occasional \u003ca href=\"https://cshouse.org/event/biergarten-at-the-lake/\" target=\"_blank\" rel=\"noopener\">food truck location\u003c/a>. \u003cem>Morbid Desire \u003c/em>remains one of its most popular events. No wonder—it’s one of the best, not to mention most stylish, ways to get in the mood for Halloween.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For Brits who have grown up observing what happens to women who marry into the royal family, the ongoing bullying of Meghan Markle is miserable to watch but par for the course.\u003c/p>\n\u003cp>Before her wedding, excitement that an American woman of color was marrying into the UK’s most prestigious family reached fever pitch. Around the world, an estimated \u003ca href=\"https://www.nowtolove.com.au/royals/british-royal-family/meghan-markle-feud-53096\" target=\"_blank\" rel=\"noopener noreferrer\">1.9 billion\u003c/a> people\u003ca href=\"https://www.kqed.org/pop/103656/i-stayed-up-all-night-to-watch-the-royal-wedding-so-you-didnt-have-to\" target=\"_blank\" rel=\"noopener noreferrer\"> stayed glued to their TVs\u003c/a> to watch Prince Harry put a ring on it. At the time, Markle was described as “\u003ca href=\"https://www.youtube.com/watch?v=IM9u8PRJZyM\" target=\"_blank\" rel=\"noopener noreferrer\">radiant\u003c/a>” and “\u003ca href=\"https://www.usmagazine.com/celebrity-news/news/duchess-meghan-was-a-regal-beauty-at-royal-wedding-bff-says/\" target=\"_blank\" rel=\"noopener noreferrer\">a regal beauty\u003c/a>.” Cute reports quickly emerged that she was so close with Queen Elizabeth II that she was calling her “\u003ca href=\"https://www.her.ie/celeb/meghan-markle-nickname-queen-cute-408880\" target=\"_blank\" rel=\"noopener noreferrer\">mama\u003c/a>” instead of the traditional “ma’am.” [aside postid='arts_13872986']\u003c/p>\n\u003cp>Within months, that excitement had given way to rumors of prima donna behavior (including “\u003ca href=\"https://www.dailymail.co.uk/news/article-6450545/Hunt-Palace-mole-revealed-news-rift-Kate-Meghan.html\" target=\"_blank\" rel=\"noopener noreferrer\">being brusque with servants\u003c/a>“), controversies over \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/meghan-markle-disturbed-by-father-thomas-markle-staging-photos/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s treatment of her estranged father\u003c/a> and anger over her \u003ca href=\"https://www.huffpost.com/entry/prince-william-kate-middleton-fly-commercial_n_5d5d8a5de4b0701d280cd079\" target=\"_blank\" rel=\"noopener noreferrer\">taking private jets\u003c/a>. Most recently (and bizarrely), she was even blamed for Serena Williams losing at the US Open.\u003c/p>\n\u003cp>https://twitter.com/FDain2/status/1170560592878407680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1170560592878407680&ref_url=https%3A%2F%2Fwww.instyle.com%2Fnews%2Fmeghan-markle-accused-of-jinxing-serena-williams\u003c/p>\n\u003cp>The ongoing pile-on might be \u003ca href=\"https://twitter.com/Pink/status/1163658843554893826\" target=\"_blank\" rel=\"noopener noreferrer\">shocking for Americans\u003c/a>, but everything happening to Meghan Markle right now has happened before, and repeatedly, to every woman who has ever married into Britain’s royal family—even down to being called a jinx. (In 2005, the term was used in both \u003cem>The Daily Express\u003c/em> and \u003cem>The Sun\u003c/em> newspapers about Camilla Parker Bowles’ imminent wedding to Prince Charles. In 2010, \u003cem>The Daily Star\u003c/em> used the word in relation to Princess Diana’s \u003ca href=\"https://www.dailystar.co.uk/news/latest-news/jinxed-princess-diana-ring-ritual-18257588\" target=\"_blank\" rel=\"noopener noreferrer\">engagement ring\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before the target moved to Meghan Markle’s back, Kate Middleton was the focus of appalling treatment by the press and public. For most of her and Prince William’s courtship, she was portrayed in the British tabloids as “\u003ca href=\"https://www.cheatsheet.com/entertainment/kate-middleton-nickname-waity-katie.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Waity Katie\u003c/a>“—a sad figure desperate to get to the throne by any means necessary. Her perceived \u003ca href=\"https://www.chatelaine.com/living/waity-katie-or-lazy-katie-kate-middleton-quits-her-job-to-become-a-royal/\" target=\"_blank\" rel=\"noopener noreferrer\">lack of career ambitions\u003c/a> were a source of mockery. And an array of trivialities—in particular a photo of her \u003ca href=\"https://www.crfashionbook.com/celebrity/a25804498/kate-middleton-birthday-charity-dress/\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a sheer dress\u003c/a> in a college fashion show—were unfairly analyzed in relation to her worthiness as a future queen. [aside postid='arts_13878920']\u003c/p>\n\u003cp>In those pre-marriage days, Prince Harry’s ex-girlfriend, Chelsy Davy, was also subjected to harsh scrutiny during the seven years they were on-again, off-again. Davy was frequently labeled “\u003ca href=\"https://www.celebitchy.com/153314/chelsy_davy_is_going_to_be_dressed_inappropriately_for_the_wedding_of_course/\" target=\"_blank\" rel=\"noopener noreferrer\">trashy\u003c/a>,” and mocked endlessly over her appearance (in particular after one unfortunate \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-1127222/The-future-truly-orange-newly-single-fake-tan-fan-Chelsy-Davy.html\" target=\"_blank\" rel=\"noopener noreferrer\">fake tan\u003c/a>). Even after she attended Prince Harry and Markle’s wedding with \u003ca href=\"https://www.bustle.com/p/prince-harry-reportedly-called-chelsy-davy-before-the-royal-wedding-its-still-none-of-your-business-9194271\" target=\"_blank\" rel=\"noopener noreferrer\">a big smile on her face\u003c/a>, she was turned into a meme.\u003c/p>\n\u003cp>https://twitter.com/SamanthaQuek/status/997768040094814209\u003c/p>\n\u003cp>The royal biography \u003cem>Harry: Conversations with the Prince\u003c/em> detailed \u003ca href=\"https://www.closerweekly.com/posts/chelsy-davy-dumped-prince-harry-prince-william-kate-middleton-wedding-164527/\" target=\"_blank\" rel=\"noopener noreferrer\">Davy’s reluctance\u003c/a> to make a lifelong commitment to such a high profile relationship. No wonder she looked so stressed in that church, knowing how many eyes were on her. [aside postid='arts_13873680']\u003c/p>\n\u003cp>Far exceeding what William and Harry’s romantic partners have been subjected to is the sheer unbridled hatred reserved for their father’s wife, Camilla Parker Bowles. The Palace’s struggle to get the public on board with the woman Princess Diana famously referred to as the “\u003ca href=\"https://www.youtube.com/watch?v=Ocw_OXfZckU\" target=\"_blank\" rel=\"noopener noreferrer\">third person\u003c/a>” in her and Charles’ marriage has been immense. And while Charles’ ascension to the throne has undoubtedly been delayed for years because of it, he has not been subjected to the kinds of personal barbs continually thrown in Bowles’ direction.\u003c/p>\n\u003cp>Until fairly recently, when Bowles wasn’t having her \u003ca href=\"https://www.pinterest.com/pin/388365167848053915/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">looks insulted\u003c/a>, she was portrayed almost exclusively as an adulterous she-devil. The British public may no longer refer to her as “\u003ca href=\"https://www.express.co.uk/news/royal/1074824/camilla-parker-bowles-news-Yorkshire-Pudding-duchess-of-cornwall-transformation-spt\" target=\"_blank\" rel=\"noopener noreferrer\">the most hated woman in Britain\u003c/a>” but the “\u003ca href=\"https://www.ibtimes.com/camilla-parker-bowles-branded-homewrecker-blamed-princess-dianas-suffering-birthday-2807509\" target=\"_blank\" rel=\"noopener noreferrer\">homewrecker\u003c/a>” tag follows her to this day.\u003c/p>\n\u003cp>Bowles’ problems were exacerbated by the public obsession with, and posthumous canonization of, Princess Diana. Because of the manner of Diana’s death, we acutely remember the paparazzi’s obsession with her but forget what caused that hounding in the first place: a public hungry to know her every move, and a press happy to \u003ca href=\"https://www.today.com/news/princess-diana-s-iconic-skirt-moment-photographer-arthur-edwards-shares-t111013\" target=\"_blank\" rel=\"noopener noreferrer\">body shame\u003c/a>, \u003ca href=\"https://people.com/archive/cover-story-diss-and-tell-vol-42-no-16/\" target=\"_blank\" rel=\"noopener noreferrer\">slut shame\u003c/a> and criticize her \u003ca href=\"https://lisawallerrogers.com/tag/british-royal-familynobles/page/4/\" target=\"_blank\" rel=\"noopener noreferrer\">taste in men\u003c/a> on a near-daily basis. \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1560857/Princess-Diana-Editors-admit-guilt-over-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">Guilt\u003c/a> over how it treated her in life, it has been suggested, played a role in the British public’s unprecedented outpouring of grief after her death.\u003c/p>\n\u003cfigure id=\"attachment_13866161\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/duchpork.jpg\" alt=\"'The News of the World' used Fergie's cruelest nickname, "Duchess of Pork," in a 2010 report about her cash for royal access scandal.\" width=\"240\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork-160x212.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">‘The News of the World’ used Fergie’s cruelest nickname, “Duchess of Pork,” in a 2010 report about her cash for royal access scandal.\u003c/figcaption>\u003c/figure>\n\u003cp>Though she was granted fewer column inches, Diana’s sister-in-law, Sarah “Fergie” Ferguson—who married Charles’ brother, Prince Andrew, in 1986—was subjected to a jaw-dropping degree of cruelty. At one point, the tabloid obsession with her (perfectly average) weight was so intense, Fergie was dubbed “\u003ca href=\"https://eng.amomama.com/161384-princess-beatrices-childhood-issues-that.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Duchess of Pork\u003c/a>” (a pun on her official “Duchess of York” title). Speaking to the \u003ca href=\"https://soundcloud.com/gemma-and-emma-podcast/tlnh-sarah-duchess-of-york\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gemma & Emma\u003c/em>\u003c/a> podcast in 2017, Ferguson recalled: “One of the worst headlines said 82 percent would rather sleep with a goat than Fergie. It’s never left me.”\u003c/p>\n\u003cp>The thread that unites all of these royal wives, however, is one of tabloid journalism’s favorite tropes: the catfight. This year, in an essay for \u003cem>Hello!\u003c/em> magazine, Sarah Ferguson recalled how she and Princess Diana were frequently \u003ca href=\"https://www.eonline.com/news/1014451/the-heartbreaking-truth-about-fergie-vs-diana-why-the-pitting-of-meghan-markle-against-kate-middleton-hasn-t-reached-that-level-yet\" target=\"_blank\" rel=\"noopener noreferrer\">pitted against each other\u003c/a> by the press, despite their very close friendship. Alleged wars between \u003ca href=\"https://www.newidea.com.au/sarah-ferguson-and-camilla-parker-bowles-feud\" target=\"_blank\" rel=\"noopener noreferrer\">Fergie and Parker Bowles\u003c/a> have surfaced in the media more recently.\u003c/p>\n\u003cp>Predictably, a \u003ca href=\"https://www.express.co.uk/news/royal/1168107/Royal-feud-Meghan-Markle-Prince-Harry-Kate-Middleton-royal-rift-news\" target=\"_blank\" rel=\"noopener noreferrer\">supposed feud\u003c/a> between Markle and Middleton dominated the press for months after Markle’s wedding, and was blamed for causing a rift between their otherwise close husbands. Middleton has since been given \u003ca href=\"https://www.express.co.uk/news/royal/1163007/Kate-Middleton-vs-Meghan-Markle-feud-royal-rift-over\" target=\"_blank\" rel=\"noopener noreferrer\">credit for ending the “feud”\u003c/a>—probably because that portrayal lines up with the conciliatory image created for her in the years when she was still being pitted against Davy. Back then, Davy was portrayed as \u003ca href=\"https://www.cheatsheet.com/entertainment/why-prince-harrys-ex-chelsy-davy-refused-to-be-friends-with-kate-middleton.html/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly rejecting Kate\u003c/a>‘s attempts at friendship—a storyline that served to reinforce the press’s portrayal of Middleton as a doormat and Davy as low class.\u003c/p>\n\u003cp>Though Princes William and Harry also deal with public scrutiny—and Prince Charles has certainly had his fair share—there is an underlying sense left over from their younger years that, unless they are doing something particularly egregious (think \u003ca href=\"https://www.eonline.com/fr/news/340478/prince-harry-naked-vegas-photos-anatomy-of-a-royal-scandal\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Harry\u003c/a> in Las Vegas), Princess Diana’s boys should be left alone. This is in part because, unlike their wives, they didn’t choose their high profile positions. There’s something about the issue of consciously choosing to join the royal ranks that seems to make wives fair game. The fact that Markle and Middleton are the first so-called “commoners” to do so has exacerbated matters, as has \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a28771396/jessica-mulroney-meghan-markle-racist-bullies/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s position\u003c/a> as the first royal woman of color \u003ca href=\"https://aaregistry.org/story/englands-first-black-queen-sophie-charlotte-born/\" target=\"_blank\" rel=\"noopener noreferrer\">since the 18th Century\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it stands, Markle is reported to be “\u003ca href=\"https://www.vanityfair.com/style/2019/08/meghan-markle-smartworks-instagram-story-private-jet\" target=\"_blank\" rel=\"noopener noreferrer\">unfazed\u003c/a>” by the relentless criticism. Good job too, given that the bullying of Middleton only ceased when she arrived. Markle now faces a future in which being bullied will simply be part of her everyday reality. Sadly for her, until Prince George starts dating in about a decade, there’s no one left to shift the spotlight off her.\u003c/p>\n\n",
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"title": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Brits who have grown up observing what happens to women who marry into the royal family, the ongoing bullying of Meghan Markle is miserable to watch but par for the course.\u003c/p>\n\u003cp>Before her wedding, excitement that an American woman of color was marrying into the UK’s most prestigious family reached fever pitch. Around the world, an estimated \u003ca href=\"https://www.nowtolove.com.au/royals/british-royal-family/meghan-markle-feud-53096\" target=\"_blank\" rel=\"noopener noreferrer\">1.9 billion\u003c/a> people\u003ca href=\"https://www.kqed.org/pop/103656/i-stayed-up-all-night-to-watch-the-royal-wedding-so-you-didnt-have-to\" target=\"_blank\" rel=\"noopener noreferrer\"> stayed glued to their TVs\u003c/a> to watch Prince Harry put a ring on it. At the time, Markle was described as “\u003ca href=\"https://www.youtube.com/watch?v=IM9u8PRJZyM\" target=\"_blank\" rel=\"noopener noreferrer\">radiant\u003c/a>” and “\u003ca href=\"https://www.usmagazine.com/celebrity-news/news/duchess-meghan-was-a-regal-beauty-at-royal-wedding-bff-says/\" target=\"_blank\" rel=\"noopener noreferrer\">a regal beauty\u003c/a>.” Cute reports quickly emerged that she was so close with Queen Elizabeth II that she was calling her “\u003ca href=\"https://www.her.ie/celeb/meghan-markle-nickname-queen-cute-408880\" target=\"_blank\" rel=\"noopener noreferrer\">mama\u003c/a>” instead of the traditional “ma’am.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within months, that excitement had given way to rumors of prima donna behavior (including “\u003ca href=\"https://www.dailymail.co.uk/news/article-6450545/Hunt-Palace-mole-revealed-news-rift-Kate-Meghan.html\" target=\"_blank\" rel=\"noopener noreferrer\">being brusque with servants\u003c/a>“), controversies over \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/meghan-markle-disturbed-by-father-thomas-markle-staging-photos/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s treatment of her estranged father\u003c/a> and anger over her \u003ca href=\"https://www.huffpost.com/entry/prince-william-kate-middleton-fly-commercial_n_5d5d8a5de4b0701d280cd079\" target=\"_blank\" rel=\"noopener noreferrer\">taking private jets\u003c/a>. Most recently (and bizarrely), she was even blamed for Serena Williams losing at the US Open.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing pile-on might be \u003ca href=\"https://twitter.com/Pink/status/1163658843554893826\" target=\"_blank\" rel=\"noopener noreferrer\">shocking for Americans\u003c/a>, but everything happening to Meghan Markle right now has happened before, and repeatedly, to every woman who has ever married into Britain’s royal family—even down to being called a jinx. (In 2005, the term was used in both \u003cem>The Daily Express\u003c/em> and \u003cem>The Sun\u003c/em> newspapers about Camilla Parker Bowles’ imminent wedding to Prince Charles. In 2010, \u003cem>The Daily Star\u003c/em> used the word in relation to Princess Diana’s \u003ca href=\"https://www.dailystar.co.uk/news/latest-news/jinxed-princess-diana-ring-ritual-18257588\" target=\"_blank\" rel=\"noopener noreferrer\">engagement ring\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before the target moved to Meghan Markle’s back, Kate Middleton was the focus of appalling treatment by the press and public. For most of her and Prince William’s courtship, she was portrayed in the British tabloids as “\u003ca href=\"https://www.cheatsheet.com/entertainment/kate-middleton-nickname-waity-katie.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Waity Katie\u003c/a>“—a sad figure desperate to get to the throne by any means necessary. Her perceived \u003ca href=\"https://www.chatelaine.com/living/waity-katie-or-lazy-katie-kate-middleton-quits-her-job-to-become-a-royal/\" target=\"_blank\" rel=\"noopener noreferrer\">lack of career ambitions\u003c/a> were a source of mockery. And an array of trivialities—in particular a photo of her \u003ca href=\"https://www.crfashionbook.com/celebrity/a25804498/kate-middleton-birthday-charity-dress/\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a sheer dress\u003c/a> in a college fashion show—were unfairly analyzed in relation to her worthiness as a future queen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In those pre-marriage days, Prince Harry’s ex-girlfriend, Chelsy Davy, was also subjected to harsh scrutiny during the seven years they were on-again, off-again. Davy was frequently labeled “\u003ca href=\"https://www.celebitchy.com/153314/chelsy_davy_is_going_to_be_dressed_inappropriately_for_the_wedding_of_course/\" target=\"_blank\" rel=\"noopener noreferrer\">trashy\u003c/a>,” and mocked endlessly over her appearance (in particular after one unfortunate \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-1127222/The-future-truly-orange-newly-single-fake-tan-fan-Chelsy-Davy.html\" target=\"_blank\" rel=\"noopener noreferrer\">fake tan\u003c/a>). Even after she attended Prince Harry and Markle’s wedding with \u003ca href=\"https://www.bustle.com/p/prince-harry-reportedly-called-chelsy-davy-before-the-royal-wedding-its-still-none-of-your-business-9194271\" target=\"_blank\" rel=\"noopener noreferrer\">a big smile on her face\u003c/a>, she was turned into a meme.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The royal biography \u003cem>Harry: Conversations with the Prince\u003c/em> detailed \u003ca href=\"https://www.closerweekly.com/posts/chelsy-davy-dumped-prince-harry-prince-william-kate-middleton-wedding-164527/\" target=\"_blank\" rel=\"noopener noreferrer\">Davy’s reluctance\u003c/a> to make a lifelong commitment to such a high profile relationship. No wonder she looked so stressed in that church, knowing how many eyes were on her. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Far exceeding what William and Harry’s romantic partners have been subjected to is the sheer unbridled hatred reserved for their father’s wife, Camilla Parker Bowles. The Palace’s struggle to get the public on board with the woman Princess Diana famously referred to as the “\u003ca href=\"https://www.youtube.com/watch?v=Ocw_OXfZckU\" target=\"_blank\" rel=\"noopener noreferrer\">third person\u003c/a>” in her and Charles’ marriage has been immense. And while Charles’ ascension to the throne has undoubtedly been delayed for years because of it, he has not been subjected to the kinds of personal barbs continually thrown in Bowles’ direction.\u003c/p>\n\u003cp>Until fairly recently, when Bowles wasn’t having her \u003ca href=\"https://www.pinterest.com/pin/388365167848053915/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">looks insulted\u003c/a>, she was portrayed almost exclusively as an adulterous she-devil. The British public may no longer refer to her as “\u003ca href=\"https://www.express.co.uk/news/royal/1074824/camilla-parker-bowles-news-Yorkshire-Pudding-duchess-of-cornwall-transformation-spt\" target=\"_blank\" rel=\"noopener noreferrer\">the most hated woman in Britain\u003c/a>” but the “\u003ca href=\"https://www.ibtimes.com/camilla-parker-bowles-branded-homewrecker-blamed-princess-dianas-suffering-birthday-2807509\" target=\"_blank\" rel=\"noopener noreferrer\">homewrecker\u003c/a>” tag follows her to this day.\u003c/p>\n\u003cp>Bowles’ problems were exacerbated by the public obsession with, and posthumous canonization of, Princess Diana. Because of the manner of Diana’s death, we acutely remember the paparazzi’s obsession with her but forget what caused that hounding in the first place: a public hungry to know her every move, and a press happy to \u003ca href=\"https://www.today.com/news/princess-diana-s-iconic-skirt-moment-photographer-arthur-edwards-shares-t111013\" target=\"_blank\" rel=\"noopener noreferrer\">body shame\u003c/a>, \u003ca href=\"https://people.com/archive/cover-story-diss-and-tell-vol-42-no-16/\" target=\"_blank\" rel=\"noopener noreferrer\">slut shame\u003c/a> and criticize her \u003ca href=\"https://lisawallerrogers.com/tag/british-royal-familynobles/page/4/\" target=\"_blank\" rel=\"noopener noreferrer\">taste in men\u003c/a> on a near-daily basis. \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1560857/Princess-Diana-Editors-admit-guilt-over-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">Guilt\u003c/a> over how it treated her in life, it has been suggested, played a role in the British public’s unprecedented outpouring of grief after her death.\u003c/p>\n\u003cfigure id=\"attachment_13866161\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/duchpork.jpg\" alt=\"'The News of the World' used Fergie's cruelest nickname, "Duchess of Pork," in a 2010 report about her cash for royal access scandal.\" width=\"240\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork-160x212.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">‘The News of the World’ used Fergie’s cruelest nickname, “Duchess of Pork,” in a 2010 report about her cash for royal access scandal.\u003c/figcaption>\u003c/figure>\n\u003cp>Though she was granted fewer column inches, Diana’s sister-in-law, Sarah “Fergie” Ferguson—who married Charles’ brother, Prince Andrew, in 1986—was subjected to a jaw-dropping degree of cruelty. At one point, the tabloid obsession with her (perfectly average) weight was so intense, Fergie was dubbed “\u003ca href=\"https://eng.amomama.com/161384-princess-beatrices-childhood-issues-that.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Duchess of Pork\u003c/a>” (a pun on her official “Duchess of York” title). Speaking to the \u003ca href=\"https://soundcloud.com/gemma-and-emma-podcast/tlnh-sarah-duchess-of-york\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gemma & Emma\u003c/em>\u003c/a> podcast in 2017, Ferguson recalled: “One of the worst headlines said 82 percent would rather sleep with a goat than Fergie. It’s never left me.”\u003c/p>\n\u003cp>The thread that unites all of these royal wives, however, is one of tabloid journalism’s favorite tropes: the catfight. This year, in an essay for \u003cem>Hello!\u003c/em> magazine, Sarah Ferguson recalled how she and Princess Diana were frequently \u003ca href=\"https://www.eonline.com/news/1014451/the-heartbreaking-truth-about-fergie-vs-diana-why-the-pitting-of-meghan-markle-against-kate-middleton-hasn-t-reached-that-level-yet\" target=\"_blank\" rel=\"noopener noreferrer\">pitted against each other\u003c/a> by the press, despite their very close friendship. Alleged wars between \u003ca href=\"https://www.newidea.com.au/sarah-ferguson-and-camilla-parker-bowles-feud\" target=\"_blank\" rel=\"noopener noreferrer\">Fergie and Parker Bowles\u003c/a> have surfaced in the media more recently.\u003c/p>\n\u003cp>Predictably, a \u003ca href=\"https://www.express.co.uk/news/royal/1168107/Royal-feud-Meghan-Markle-Prince-Harry-Kate-Middleton-royal-rift-news\" target=\"_blank\" rel=\"noopener noreferrer\">supposed feud\u003c/a> between Markle and Middleton dominated the press for months after Markle’s wedding, and was blamed for causing a rift between their otherwise close husbands. Middleton has since been given \u003ca href=\"https://www.express.co.uk/news/royal/1163007/Kate-Middleton-vs-Meghan-Markle-feud-royal-rift-over\" target=\"_blank\" rel=\"noopener noreferrer\">credit for ending the “feud”\u003c/a>—probably because that portrayal lines up with the conciliatory image created for her in the years when she was still being pitted against Davy. Back then, Davy was portrayed as \u003ca href=\"https://www.cheatsheet.com/entertainment/why-prince-harrys-ex-chelsy-davy-refused-to-be-friends-with-kate-middleton.html/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly rejecting Kate\u003c/a>‘s attempts at friendship—a storyline that served to reinforce the press’s portrayal of Middleton as a doormat and Davy as low class.\u003c/p>\n\u003cp>Though Princes William and Harry also deal with public scrutiny—and Prince Charles has certainly had his fair share—there is an underlying sense left over from their younger years that, unless they are doing something particularly egregious (think \u003ca href=\"https://www.eonline.com/fr/news/340478/prince-harry-naked-vegas-photos-anatomy-of-a-royal-scandal\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Harry\u003c/a> in Las Vegas), Princess Diana’s boys should be left alone. This is in part because, unlike their wives, they didn’t choose their high profile positions. There’s something about the issue of consciously choosing to join the royal ranks that seems to make wives fair game. The fact that Markle and Middleton are the first so-called “commoners” to do so has exacerbated matters, as has \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a28771396/jessica-mulroney-meghan-markle-racist-bullies/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s position\u003c/a> as the first royal woman of color \u003ca href=\"https://aaregistry.org/story/englands-first-black-queen-sophie-charlotte-born/\" target=\"_blank\" rel=\"noopener noreferrer\">since the 18th Century\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it stands, Markle is reported to be “\u003ca href=\"https://www.vanityfair.com/style/2019/08/meghan-markle-smartworks-instagram-story-private-jet\" target=\"_blank\" rel=\"noopener noreferrer\">unfazed\u003c/a>” by the relentless criticism. Good job too, given that the bullying of Middleton only ceased when she arrived. Markle now faces a future in which being bullied will simply be part of her everyday reality. Sadly for her, until Prince George starts dating in about a decade, there’s no one left to shift the spotlight off her.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland's Troubles",
"headTitle": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland’s Troubles | KQED",
"content": "\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UFmFuXH0IRY\u003c/p>\n\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P937Lic52NY\u003c/p>\n\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The hit comedy follows teenagers in a Catholic school in the 1990s. Even with The Troubles as the backdrop, it's \"put Northern Ireland on the map for all the right reasons,\" says one fan.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UFmFuXH0IRY'\n title='//www.youtube.com/embed/UFmFuXH0IRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\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/P937Lic52NY'\n title='//www.youtube.com/embed/P937Lic52NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/755783543/755807700\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>1969 was a pivotal year for music: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Soul ’69\u003c/em>, both \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a>‘s self-titled debut and \u003cem>Led Zeppelin II\u003c/em>, \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a>‘s \u003cem>I Got Dem Ol’ Kozmic Blues Again Mama! \u003c/em>and \u003ca href=\"https://www.npr.org/artists/15368370/miles-davis\">Miles Davis\u003c/a>‘ \u003cem>In a Silent Way\u003c/em> are just a few of the seismic albums released that year.\u003c/p>\n\u003cp>[aside tag='santana,jimi-hendrix,summer-of-love,ace-of-cups' label='Stories for you']\u003c/p>\n\u003cp>This week, we’re going to take a closer look at another one of those influential albums. Released just a week after its Woodstock performance, Santana’s self-titled debut had a profound impact both musically and socially. \u003cem>Santana\u003c/em>‘s cultural mash-up made a statement about Latin music that still reverberates to this day.\u003c/p>\n\u003cp>Who better to tell the story of \u003cem>Santana\u003c/em> than some original members of Santana itself? On this episode of \u003cem>Alt.Latino\u003c/em>, hear an oral history from guitarist \u003ca href=\"https://www.npr.org/artists/15442799/carlos-santana\">Carlos Santana\u003c/a>, drummer Michael Shrieve, \u003cem>conguero\u003c/em> Michael Carabello as well as keyboardist and vocalist Gregg Rolie. Their story is a lesson in ignoring boundaries and expectations and instead celebrating inspiration and friendship.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, we’re going to take a closer look at another one of those influential albums. Released just a week after its Woodstock performance, Santana’s self-titled debut had a profound impact both musically and socially. \u003cem>Santana\u003c/em>‘s cultural mash-up made a statement about Latin music that still reverberates to this day.\u003c/p>\n\u003cp>Who better to tell the story of \u003cem>Santana\u003c/em> than some original members of Santana itself? On this episode of \u003cem>Alt.Latino\u003c/em>, hear an oral history from guitarist \u003ca href=\"https://www.npr.org/artists/15442799/carlos-santana\">Carlos Santana\u003c/a>, drummer Michael Shrieve, \u003cem>conguero\u003c/em> Michael Carabello as well as keyboardist and vocalist Gregg Rolie. Their story is a lesson in ignoring boundaries and expectations and instead celebrating inspiration and friendship.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture",
"headTitle": "How One Brutal Children’s Book From 1845 Left Permanent Marks on Pop Culture | KQED",
"content": "\u003cp>It’s a collection of children’s stories so brutal, it almost outdoes the Brothers Grimm.\u003c/p>\n\u003cp>The tales of \u003cem>Der Struwwelpeter\u003c/em> by Heinrich Hoffman are short, sharp, shocking, and they’ve left a surprisingly deep mark on culture, even though most living Americans have never read them. Today, the astonishing content of \u003cem>Der Struwwelpeter\u003c/em> hasn’t only irreversibly impacted children’s literature—its influence can still be seen in movies, cartoons, TV shows, and a wealth of parodies.\u003c/p>\n\u003cfigure id=\"attachment_13863801\" class=\"wp-caption alignright\" style=\"max-width: 132px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863801\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/harriet.three_.thm_.jpg\" alt='\"The Dreadful Story of Harriet and the Matches.\"' width=\"132\" height=\"186\">\u003cfigcaption class=\"wp-caption-text\">‘The Dreadful Story of Harriet and the Matches.’\u003c/figcaption>\u003c/figure>\n\u003cp>To give you some idea of the savagery of the 10 stories in the 1845 collection, consider “The Dreadful Story of Harriet and the Matches,” about a little girl who accidentally sets herself on fire and burns to death while her pet cats watch. Then there’s “The Story of Little Suck-a-Thumb,” about a boy named Conrad who refuses to stop sucking his thumbs and subsequently watches them both severed by a creepy, long-legged home-invader.\u003c/p>\n\u003cp>In between are tales of comeuppance for characters committing surprisingly graphic animal cruelty (“Cruel Frederick”), racist harassment (“The Story of the Inky Boys” is definitely not woke by 2019 standards, but was considered progressive at the time), and the apparent dastardly sin of not watching where you’re going (“The Story of Johnny Head-in-Air”). In others, one little boy refuses to eat soup for a few days and subsequently starves to death, and another insists on going out for a walk in the rain and flies away in a storm, never to be seen again.\u003c/p>\n\u003cp>Despite the smörgåsbord of searing imagery in the book, the one that seems to stick most with people is that of “Shock-Headed Peter”—the \u003cem>Der Struwwelpeter\u003c/em> of the book’s title. Peter is a little boy publicly humiliated by his own slovenliness. He is depicted as crying and alone “with his nasty hair and hands.” Peter, especially out of context, is pretty damn scary.\u003c/p>\n\u003cfigure id=\"attachment_13863713\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg\" alt=\"Shock-Headed Peter, of 'Der Struwwelpeter'.\" width=\"450\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4-160x167.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shock-Headed Peter, of ‘Der Struwwelpeter’.\u003c/figcaption>\u003c/figure>\n\u003cp>My introduction to\u003cem> Der Struwwelpeter\u003c/em> occurred purely because of this image, which I recently encountered on the sixth floor of the San Francisco Public Library, hanging in the SF History room. The panel featuring Peter’s image was created for the library’s 100th anniversary last year, and still regularly causes a stir. One librarian informed me that a woman recently walked into the room, saw Peter, screamed, then shouted “Get that thing out of here!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a response that might have appalled Heinrich Hoffman. Not only did the German physician originally write the collection for his 3-year-old son, he did so because he wanted his child to have something more light-hearted and humorous than anything else that was available at the time. (Hoffman originally titled the book \u003cem>Funny Stories and Droll Pictures… For Children Ages 3–6\u003c/em>.)\u003c/p>\n\u003cp>In the book \u003ca href=\"https://www.amazon.com/Struwwelpeter-Humor-Horror-Years-Later/dp/0739116649\" target=\"_blank\" rel=\"noopener\">\u003cem>Struwwelpeter: Humor or Horror?\u003c/em>\u003c/a> Barbara Smith Chalou explains:\u003c/p>\n\u003cblockquote>\u003cp>“Prior to the 1866 publication of Lewis Carroll’s landmark ‘\u003cem>Alice in Wonderland’ \u003c/em>… most Western children’s books were limited to instruction manuals, Bible passages, moral fables or cautionary tales … In ‘\u003cem>Der Struwwelpeter\u003c/em>,’ we find an intriguing mix of traditional elements with … certain components that were dramatically different than anything previously seen in children’s books. For example, [Hoffman’s] … brightly colored pictures… Nothing resembling this had existed on the market prior to 1845, the date of publication.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Der Struwwelpeter, \u003c/em>then, was one of the world’s first picture books, which is why it quickly warranted \u003ca href=\"https://www.nypl.org/blog/2013/05/15/influence-struwwelpeter\">35 translations\u003c/a>—one of which was done \u003ca href=\"https://germanstories.vcu.edu/struwwel/twpete.html\" target=\"_blank\" rel=\"noopener\">by Mark Twain\u003c/a> in 1891—and helped to permanently transform how children’s entertainment was presented and enjoyed. What’s more, despite the inherent horror, its visuals have proved timeless. Without \u003cem>Der Struwwelpeter’\u003c/em>s “The Story of the Man That Went Out Shooting,” in which a hapless hunter has his gun turned on him by a wily hare, there is a good chance that Looney Toons might never have thought to give us a war between Elmer Fudd and Bugs Bunny.\u003c/p>\n\u003cp>It’s impossible not to see the parallels:\u003c/p>\n\u003cfigure id=\"attachment_13863825\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/014-1.jpg\" alt=\""The Story of the Man That Went Out Shooting" from 'Der Struwwelpeter.'\" width=\"400\" height=\"311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1-160x124.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“The Story of the Man That Went Out Shooting” from ‘Der Struwwelpeter.’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863826\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg\" alt=\"Elmer Fudd and Bugs Bunny in a battle of wits.\" width=\"374\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny-160x121.jpg 160w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003cfigcaption class=\"wp-caption-text\">Elmer Fudd and Bugs Bunny in a battle of wits. \u003ccite>(Looney Tunes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dark humor inherent in \u003cem>Der Struwwelpeter\u003c/em> is also credited with directly influencing the work of beloved children’s authors including Roald Dahl, Lemony Snicket and Maurice Sendak—who once called \u003cem>Der Struwwelpeter\u003c/em> “one of the most beautiful books in the world.” When illustrator Bob Staake\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\"> created his own version\u003c/a> in 2006, he said: “When I was given the book as a kid, I didn’t know if it was a joke or not, but my German parents weren’t laughing. The illustrations and stories just \u003ca href=\"https://bobstaake.com/struwwelpeter/artist.shtml\" target=\"_blank\" rel=\"noopener\">creeped me out\u003c/a> beyond words.”\u003c/p>\n\u003cp>Staake isn’t the only one—gothic artists Edward Gorey and Tim Burton are said to be heavily influenced too\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\">.\u003c/a> When The Tiger Lillies toured their \u003ca href=\"https://observer.com/1999/11/your-thumbs-during-shockheaded-peter/\" target=\"_blank\" rel=\"noopener\">“junk opera,” \u003cem>Shockheaded Peter,\u003c/em>\u003c/a> in the ’90s, it was the aesthetics of Tim Burton that critics most commonly referenced in order to paint a picture for readers. Is it any wonder when Burton’s Edward Scissorhands bears such a striking resemblance to Shock-Headed Peter?\u003c/p>\n\u003cfigure id=\"attachment_13863857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg\" alt=\"Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\u003c/figcaption>\u003c/figure>\n\u003cp>The macabre elements of the book have also been repeatedly referenced in both music—Rammstein’s \u003ca href=\"https://www.youtube.com/watch?v=-ButQO2fi4I\">“Hilf Mir”\u003c/a> is based on “Harriet and the Matches,” and the XTC track \u003ca href=\"https://www.youtube.com/watch?v=oqA28wFRvHA\">“Scissor Man”\u003c/a> is a direct reference to the thumb-severer—and in TV comedy, most notably with references to “The Story of Little Suck-a-Thumb” showing up \u003cem>Doctor Who\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=OeIi4ni1LvY\">\u003cem>The Office\u003c/em>\u003c/a> and, most hilariously, \u003cem>Family Guy\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=khOIOHcw4PI\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em>‘s historical influence runs even deeper. During World War II, the allies used the book to make fun of the Third Reich repeatedly, with one \u003ca href=\"http://parridigit.istitutoparri.eu/public/multimediale/1/Monografie/multimedia_source/STR/UW/STRUWWELHITLER.pdf\" target=\"_blank\" rel=\"noopener\">version by Robert and Peter Spence\u003c/a> transforming “Struwwelpeter” into “Struwwelhitler,” and “Cruel Frederick” into “Cruel Adolph.”\u003c/p>\n\u003cp>Another piece of historical satire came in 1975 with \u003ca href=\"https://www.amazon.com/Tricky-Dick-his-pals-Struwwelpeter/dp/0812904451\" target=\"_blank\" rel=\"noopener\">\u003cem>Tricky Dick and His Pals\u003c/em>\u003c/a>, designed to pointedly make a mockery of the Nixon administration. It opens with the lines “Look at this child, so clean and slick. He’s called Obnoxious Tricky Dick! He’d lie and cheat and hit and steal, and wouldn’t care how bad you’d feel,” and stories within the collection see Nixon getting bitten by a dog and shooting himself with his own gun.\u003c/p>\n\u003cfigure id=\"attachment_13863813\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863813 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg\" alt=\"L: Robert and Philip Spence's war-time parody. R: 1974's 'Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann's Der Struwwelpeter' by Joseph Wortis.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L: Robert and Philip Spence’s war-time parody. R: 1974’s ‘Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann’s Der Struwwelpeter’ by Joseph Wortis.\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em> is still incredibly easy to find today, whether that be in the form of the original book, updated \u003ca href=\"https://www.youtube.com/watch?v=p3QyMA-Pmk4\">animations\u003c/a> that tell the traditional stories, or in the influence it has left behind on other people’s creations. Whether or not it remains appropriate reading for modern-day children remains to be seen, but those that grew up with it are left with vivid memories. “My grandparents had a copy when I was a kid,” KQED’s Senior Social Media Strategist, Carly Severn, recently told me, smile quickly turning to a grimace. “It scared the everloving \u003cem>scheisse\u003c/em> out of me.”\u003c/p>\n\n",
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"excerpt": "Despite 1845's 'Der Struwwelpeter' being full of short, sharp shocks, there are still elements of it left behind in today's entertainment for children—and adults.",
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"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a collection of children’s stories so brutal, it almost outdoes the Brothers Grimm.\u003c/p>\n\u003cp>The tales of \u003cem>Der Struwwelpeter\u003c/em> by Heinrich Hoffman are short, sharp, shocking, and they’ve left a surprisingly deep mark on culture, even though most living Americans have never read them. Today, the astonishing content of \u003cem>Der Struwwelpeter\u003c/em> hasn’t only irreversibly impacted children’s literature—its influence can still be seen in movies, cartoons, TV shows, and a wealth of parodies.\u003c/p>\n\u003cfigure id=\"attachment_13863801\" class=\"wp-caption alignright\" style=\"max-width: 132px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863801\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/harriet.three_.thm_.jpg\" alt='\"The Dreadful Story of Harriet and the Matches.\"' width=\"132\" height=\"186\">\u003cfigcaption class=\"wp-caption-text\">‘The Dreadful Story of Harriet and the Matches.’\u003c/figcaption>\u003c/figure>\n\u003cp>To give you some idea of the savagery of the 10 stories in the 1845 collection, consider “The Dreadful Story of Harriet and the Matches,” about a little girl who accidentally sets herself on fire and burns to death while her pet cats watch. Then there’s “The Story of Little Suck-a-Thumb,” about a boy named Conrad who refuses to stop sucking his thumbs and subsequently watches them both severed by a creepy, long-legged home-invader.\u003c/p>\n\u003cp>In between are tales of comeuppance for characters committing surprisingly graphic animal cruelty (“Cruel Frederick”), racist harassment (“The Story of the Inky Boys” is definitely not woke by 2019 standards, but was considered progressive at the time), and the apparent dastardly sin of not watching where you’re going (“The Story of Johnny Head-in-Air”). In others, one little boy refuses to eat soup for a few days and subsequently starves to death, and another insists on going out for a walk in the rain and flies away in a storm, never to be seen again.\u003c/p>\n\u003cp>Despite the smörgåsbord of searing imagery in the book, the one that seems to stick most with people is that of “Shock-Headed Peter”—the \u003cem>Der Struwwelpeter\u003c/em> of the book’s title. Peter is a little boy publicly humiliated by his own slovenliness. He is depicted as crying and alone “with his nasty hair and hands.” Peter, especially out of context, is pretty damn scary.\u003c/p>\n\u003cfigure id=\"attachment_13863713\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg\" alt=\"Shock-Headed Peter, of 'Der Struwwelpeter'.\" width=\"450\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4-160x167.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shock-Headed Peter, of ‘Der Struwwelpeter’.\u003c/figcaption>\u003c/figure>\n\u003cp>My introduction to\u003cem> Der Struwwelpeter\u003c/em> occurred purely because of this image, which I recently encountered on the sixth floor of the San Francisco Public Library, hanging in the SF History room. The panel featuring Peter’s image was created for the library’s 100th anniversary last year, and still regularly causes a stir. One librarian informed me that a woman recently walked into the room, saw Peter, screamed, then shouted “Get that thing out of here!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a response that might have appalled Heinrich Hoffman. Not only did the German physician originally write the collection for his 3-year-old son, he did so because he wanted his child to have something more light-hearted and humorous than anything else that was available at the time. (Hoffman originally titled the book \u003cem>Funny Stories and Droll Pictures… For Children Ages 3–6\u003c/em>.)\u003c/p>\n\u003cp>In the book \u003ca href=\"https://www.amazon.com/Struwwelpeter-Humor-Horror-Years-Later/dp/0739116649\" target=\"_blank\" rel=\"noopener\">\u003cem>Struwwelpeter: Humor or Horror?\u003c/em>\u003c/a> Barbara Smith Chalou explains:\u003c/p>\n\u003cblockquote>\u003cp>“Prior to the 1866 publication of Lewis Carroll’s landmark ‘\u003cem>Alice in Wonderland’ \u003c/em>… most Western children’s books were limited to instruction manuals, Bible passages, moral fables or cautionary tales … In ‘\u003cem>Der Struwwelpeter\u003c/em>,’ we find an intriguing mix of traditional elements with … certain components that were dramatically different than anything previously seen in children’s books. For example, [Hoffman’s] … brightly colored pictures… Nothing resembling this had existed on the market prior to 1845, the date of publication.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Der Struwwelpeter, \u003c/em>then, was one of the world’s first picture books, which is why it quickly warranted \u003ca href=\"https://www.nypl.org/blog/2013/05/15/influence-struwwelpeter\">35 translations\u003c/a>—one of which was done \u003ca href=\"https://germanstories.vcu.edu/struwwel/twpete.html\" target=\"_blank\" rel=\"noopener\">by Mark Twain\u003c/a> in 1891—and helped to permanently transform how children’s entertainment was presented and enjoyed. What’s more, despite the inherent horror, its visuals have proved timeless. Without \u003cem>Der Struwwelpeter’\u003c/em>s “The Story of the Man That Went Out Shooting,” in which a hapless hunter has his gun turned on him by a wily hare, there is a good chance that Looney Toons might never have thought to give us a war between Elmer Fudd and Bugs Bunny.\u003c/p>\n\u003cp>It’s impossible not to see the parallels:\u003c/p>\n\u003cfigure id=\"attachment_13863825\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/014-1.jpg\" alt=\""The Story of the Man That Went Out Shooting" from 'Der Struwwelpeter.'\" width=\"400\" height=\"311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1-160x124.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“The Story of the Man That Went Out Shooting” from ‘Der Struwwelpeter.’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863826\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg\" alt=\"Elmer Fudd and Bugs Bunny in a battle of wits.\" width=\"374\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny-160x121.jpg 160w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003cfigcaption class=\"wp-caption-text\">Elmer Fudd and Bugs Bunny in a battle of wits. \u003ccite>(Looney Tunes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dark humor inherent in \u003cem>Der Struwwelpeter\u003c/em> is also credited with directly influencing the work of beloved children’s authors including Roald Dahl, Lemony Snicket and Maurice Sendak—who once called \u003cem>Der Struwwelpeter\u003c/em> “one of the most beautiful books in the world.” When illustrator Bob Staake\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\"> created his own version\u003c/a> in 2006, he said: “When I was given the book as a kid, I didn’t know if it was a joke or not, but my German parents weren’t laughing. The illustrations and stories just \u003ca href=\"https://bobstaake.com/struwwelpeter/artist.shtml\" target=\"_blank\" rel=\"noopener\">creeped me out\u003c/a> beyond words.”\u003c/p>\n\u003cp>Staake isn’t the only one—gothic artists Edward Gorey and Tim Burton are said to be heavily influenced too\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\">.\u003c/a> When The Tiger Lillies toured their \u003ca href=\"https://observer.com/1999/11/your-thumbs-during-shockheaded-peter/\" target=\"_blank\" rel=\"noopener\">“junk opera,” \u003cem>Shockheaded Peter,\u003c/em>\u003c/a> in the ’90s, it was the aesthetics of Tim Burton that critics most commonly referenced in order to paint a picture for readers. Is it any wonder when Burton’s Edward Scissorhands bears such a striking resemblance to Shock-Headed Peter?\u003c/p>\n\u003cfigure id=\"attachment_13863857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg\" alt=\"Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\u003c/figcaption>\u003c/figure>\n\u003cp>The macabre elements of the book have also been repeatedly referenced in both music—Rammstein’s \u003ca href=\"https://www.youtube.com/watch?v=-ButQO2fi4I\">“Hilf Mir”\u003c/a> is based on “Harriet and the Matches,” and the XTC track \u003ca href=\"https://www.youtube.com/watch?v=oqA28wFRvHA\">“Scissor Man”\u003c/a> is a direct reference to the thumb-severer—and in TV comedy, most notably with references to “The Story of Little Suck-a-Thumb” showing up \u003cem>Doctor Who\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=OeIi4ni1LvY\">\u003cem>The Office\u003c/em>\u003c/a> and, most hilariously, \u003cem>Family Guy\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/khOIOHcw4PI'\n title='//www.youtube.com/embed/khOIOHcw4PI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Der Struwwelpeter\u003c/em>‘s historical influence runs even deeper. During World War II, the allies used the book to make fun of the Third Reich repeatedly, with one \u003ca href=\"http://parridigit.istitutoparri.eu/public/multimediale/1/Monografie/multimedia_source/STR/UW/STRUWWELHITLER.pdf\" target=\"_blank\" rel=\"noopener\">version by Robert and Peter Spence\u003c/a> transforming “Struwwelpeter” into “Struwwelhitler,” and “Cruel Frederick” into “Cruel Adolph.”\u003c/p>\n\u003cp>Another piece of historical satire came in 1975 with \u003ca href=\"https://www.amazon.com/Tricky-Dick-his-pals-Struwwelpeter/dp/0812904451\" target=\"_blank\" rel=\"noopener\">\u003cem>Tricky Dick and His Pals\u003c/em>\u003c/a>, designed to pointedly make a mockery of the Nixon administration. It opens with the lines “Look at this child, so clean and slick. He’s called Obnoxious Tricky Dick! He’d lie and cheat and hit and steal, and wouldn’t care how bad you’d feel,” and stories within the collection see Nixon getting bitten by a dog and shooting himself with his own gun.\u003c/p>\n\u003cfigure id=\"attachment_13863813\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863813 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg\" alt=\"L: Robert and Philip Spence's war-time parody. R: 1974's 'Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann's Der Struwwelpeter' by Joseph Wortis.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L: Robert and Philip Spence’s war-time parody. R: 1974’s ‘Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann’s Der Struwwelpeter’ by Joseph Wortis.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em> is still incredibly easy to find today, whether that be in the form of the original book, updated \u003ca href=\"https://www.youtube.com/watch?v=p3QyMA-Pmk4\">animations\u003c/a> that tell the traditional stories, or in the influence it has left behind on other people’s creations. Whether or not it remains appropriate reading for modern-day children remains to be seen, but those that grew up with it are left with vivid memories. “My grandparents had a copy when I was a kid,” KQED’s Senior Social Media Strategist, Carly Severn, recently told me, smile quickly turning to a grimace. “It scared the everloving \u003cem>scheisse\u003c/em> out of me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's Your Chance to See (and Transcribe) Thousands of Suffragist Letters",
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"content": "\u003cp>If you’ve ever been curious about the day-to-day lives of America’s most beloved suffragists—their relationships to one another, how they spoke about the movement in private, and how they found strength in the struggle—the Library of Congress has a really special gift for you. Not only has it just uploaded its collection of letters, diaries and speeches by the likes of Susan B. Anthony, Elizabeth Cady Stanton and Anna E. Dickinson to the web, it’s \u003ca href=\"https://crowd.loc.gov/campaigns-topics/\" target=\"_blank\" rel=\"noopener\">asking for the public’s help in transcribing them\u003c/a>.\u003c/p>\n\u003cp>The idea behind the crowdsourcing project is to digitize these historic papers for future generations, make them easier to read, and facilitate the process of locating specific documents via simple word search. A brief glance at the pages demonstrates the current challenges associated with exploring them in their original state. (Turns out these legendary ladies were too busy smashing the patriarchy to dedicate more time to their penmanship.)\u003c/p>\n\u003cfigure id=\"attachment_13864019\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg\" alt=\"The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905.\" width=\"1200\" height=\"773\" class=\"size-full wp-image-13864019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-1020x657.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864020\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg\" alt=\"From Susan B. Anthony's papers, the first page of her 1873 diary.\" width=\"1200\" height=\"1042\" class=\"size-full wp-image-13864020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-768x667.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-1020x886.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From Susan B. Anthony’s papers, the first page of her 1873 diary. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864021\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg\" alt=\"Susan B. Anthony's diary entries for Jan. 20–21, 1877.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-13864021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-1020x810.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Susan B. Anthony’s diary entries for Jan. 20–21, 1877. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, 2,820 volunteers are in the middle of working on 18,000 pages. They’ve already completed 6,781 of the documents, but there are more than 23,000 to go. You too can join in the task from the comfort of your own home, and feel like you’ve done your part for history. In their own time, suffragists asked for “Deeds, not words.” Finally, there’s a chance to give them both.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever been curious about the day-to-day lives of America’s most beloved suffragists—their relationships to one another, how they spoke about the movement in private, and how they found strength in the struggle—the Library of Congress has a really special gift for you. Not only has it just uploaded its collection of letters, diaries and speeches by the likes of Susan B. Anthony, Elizabeth Cady Stanton and Anna E. Dickinson to the web, it’s \u003ca href=\"https://crowd.loc.gov/campaigns-topics/\" target=\"_blank\" rel=\"noopener\">asking for the public’s help in transcribing them\u003c/a>.\u003c/p>\n\u003cp>The idea behind the crowdsourcing project is to digitize these historic papers for future generations, make them easier to read, and facilitate the process of locating specific documents via simple word search. A brief glance at the pages demonstrates the current challenges associated with exploring them in their original state. (Turns out these legendary ladies were too busy smashing the patriarchy to dedicate more time to their penmanship.)\u003c/p>\n\u003cfigure id=\"attachment_13864019\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg\" alt=\"The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905.\" width=\"1200\" height=\"773\" class=\"size-full wp-image-13864019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-1020x657.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864020\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg\" alt=\"From Susan B. Anthony's papers, the first page of her 1873 diary.\" width=\"1200\" height=\"1042\" class=\"size-full wp-image-13864020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-768x667.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-1020x886.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From Susan B. Anthony’s papers, the first page of her 1873 diary. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864021\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg\" alt=\"Susan B. Anthony's diary entries for Jan. 20–21, 1877.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-13864021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-1020x810.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Susan B. Anthony’s diary entries for Jan. 20–21, 1877. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, 2,820 volunteers are in the middle of working on 18,000 pages. They’ve already completed 6,781 of the documents, but there are more than 23,000 to go. You too can join in the task from the comfort of your own home, and feel like you’ve done your part for history. In their own time, suffragists asked for “Deeds, not words.” Finally, there’s a chance to give them both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Across Europe, Museums Rethink What to Do With Their African Art Collections",
"headTitle": "Across Europe, Museums Rethink What to Do With Their African Art Collections | KQED",
"content": "\u003cp>Early in the movie \u003cem>Black Panther\u003c/em>, a black visitor played by Michael B. Jordan confronts a white curator over African artifacts in a fictional British museum.\u003c/p>\n\u003cp>“How do you think your ancestors got these?” the visitor asks. “You think they paid a fair price? Or did they take it—like they took everything else?”\u003c/p>\n\u003cp>The visitor turns out to be the villain of the movie. But a similar (if less ultimately violent) discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and \u003ca href=\"https://www.theartnewspaper.com/news/dutch-museums-take-initiative-to-repatriate-colonial-era-artefacts\">The Netherlands\u003c/a> have \u003ca href=\"https://www.cnn.com/2019/05/17/africa/germany-to-return-namibia-art-scli-intl/index.html\">announced plans to return\u003c/a> art and artifacts taken from Africa during the colonial period. And more museum staff are meeting on the topic across Europe.\u003c/p>\n\u003cp>In 2006, France’s Quai Branly museum lent a set of wooden statues and carved furniture to the country of Benin. Originally seized from the region by a French military expedition in 1892, they were housed in a Beninese museum called the Fondation Zinsou.\u003c/p>\n\u003cp>Marie-Cécile Zinsou, founder of the museum, says people lined up for 3 to 4 hours, and that visitors to the exhibition left lots of messages of gratitude in the visitors’ book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But they also wondered: “Why do these objects have to go back in France, exactly?” Zinsou says. “People were really saying, ‘Do you think we could have them back for real, soon?'”\u003c/p>\n\u003cp>According to the most commonly cited figures from a 2007 UNESCO forum, 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa. Many, like the works from Benin, were taken during the colonial period and ended up in museums across Europe and North America.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/09/26/649600217/where-human-zoos-once-stood-a-belgian-museum-now-faces-its-colonial-past\">At the Africa Museum in Belgium\u003c/a>, director Guido Gryseels says 85 percent of the museum’s collection comes from the Congo—the site of Belgium’s former colony in Central Africa.\u003c/p>\n\u003cp>“Some were brought by missionaries,” Gryseels says. “Others were brought by civil servants … also, some were resulting from military expeditions and sometimes even from plundering.”\u003c/p>\n\u003cp>For decades, Congolese leaders have asked for these objects to be returned. Most of their requests, and those by African countries to other museums, have been refused—with some exceptions, particularly for human remains.\u003c/p>\n\u003cp>But recent events in Europe have raised the possibility of repatriations at a much larger scale. In addition to the plans announced in Germany, last year French President Emmanuel Macron commissioned \u003ca href=\"http://restitutionreport2018.com/sarr_savoy_en.pdf\">a study of how much African art French museums are holding\u003c/a> and to make recommendations about what to do with it.\u003c/p>\n\u003cp>Senegalese economist Felwine Sarr is one of the study’s authors. “The problem is you can’t lend people an object that fundamentally belongs to them,” he says.\u003c/p>\n\u003cp>The study recommended the return of a wide range of objects taken during the colonial period by force—or where there’s simply no documentation of consent. The report got mixed reviews in France, where Sarr estimates there are at least 90,000 African items in museums.\u003c/p>\n\u003cp>The vast majority are in just one, the state-owned Quai Branly in Paris. Its director, Stéphane Martin, said in an \u003ca href=\"https://www.europe1.fr/emissions/C-est-arrive-demain/patrick-cohen-avec-michel-wieviorka-stephane-martin-jean-louis-fournier-et-jose-garcia-3807632\">interview with radio station Europe 1\u003c/a> that restitution shouldn’t be a dirty word,but that the report was too drastic: “Museums should not be the hostages of the unhappy history of colonialism,” he said.\u003c/p>\n\u003cp>The wrangling over where art comes from and where it belongs isn’t new. The most famous example is \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113889188\">Greece’s longstanding dispute\u003c/a> with the British Museum over what the British call the Elgin marbles: sculptures from the Parthenon that have been at the London museum for almost 200 years.\u003c/p>\n\u003cfigure id=\"attachment_13863918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg\" alt=\"A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018. \u003ccite>(Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alexander Herman of the Institute of Art and Law in the U.K. says that in 2002, a group of directors from major international museums issued a general declaration on the topic of restitution. He characterized it as “claiming we shouldn’t just be kowtowing to these claimant countries and giving everything back, and things need to be shared with a world audience, and we’re the best places where this can happen.”\u003c/p>\n\u003cp>That sentiment still lingers, he says—the Elgin marbles are still in the British Museum—but he does think that other fronts may be more open. For his part, Guido Gryseels of the Africa Museum in Belgium acknowledges that attitudes are changing.\u003c/p>\n\u003cp>“We are fully aware that it’s not normal that such a large part of the African cultural heritage is in Europe or in Western museums,” he says.\u003c/p>\n\u003cp>Gryssels says he’s in discussion with his counterpart in the Congo to return works.\u003c/p>\n\u003cp>In France, some press coverage has suggested returns could leave vacant shelves in French museums. Cécile Fromont, a French historian of Central African art, says that’s not going to happen. One way of thinking about it, she says, is that more African art can go on display.\u003c/p>\n\u003cp>“We are talking about hundreds of thousands of objects,” Fromont says. “As somebody who wants to champion the display and study of the expressive art of the African continent, if we can get more objects on view—in more settings, in more museums, in more places around the world—that sounds like a great solution.”\u003c/p>\n\u003cp>For now, those wooden objects from Benin are back at the Quai Branly. With a loan from the French Development Agency, \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__www.france24.com_en_20190716-2Dbenin-2Dreadies-2Dreturn-2Dtreasures-2Dtaken-2Dfrance&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=xbeNc8dbx9Jc1UjCGoBhfLkLI91Xa3ESLCRxFVZJ_LQ&m=X3H645VzoGkTIW4nXMbaJBnjwOC2_iDxXCMTB-kSbUs&s=uLE4rJkQZs67i84TnpsYTN1mQQ8RSiBrcwB7jW4hO1Y&e=\">Benin is constructing a new museum\u003c/a> to receive them, set to open in 2021.\u003c/p>\n\u003cp>In July, the French Minister of Culture Franck Riester said the government was prepared to send them on loan to Benin even sooner. But it will take an act of the French Parliament to release them from the Quai Branly’s collection definitively—and another law to allow for wider, permanent returns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Across+Europe%2C+Museums+Rethink+What+To+Do+With+Their+African+Art+Collections&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Attitudes toward returning cultural artifacts, often looted during colonization, are changing. In countries like France, Germany and Belgium, the talk has turned to restitution and repatriation.",
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"description": "Attitudes toward returning cultural artifacts, often looted during colonization, are changing. In countries like France, Germany and Belgium, the talk has turned to restitution and repatriation.",
"title": "Across Europe, Museums Rethink What to Do With Their African Art Collections | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the movie \u003cem>Black Panther\u003c/em>, a black visitor played by Michael B. Jordan confronts a white curator over African artifacts in a fictional British museum.\u003c/p>\n\u003cp>“How do you think your ancestors got these?” the visitor asks. “You think they paid a fair price? Or did they take it—like they took everything else?”\u003c/p>\n\u003cp>The visitor turns out to be the villain of the movie. But a similar (if less ultimately violent) discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and \u003ca href=\"https://www.theartnewspaper.com/news/dutch-museums-take-initiative-to-repatriate-colonial-era-artefacts\">The Netherlands\u003c/a> have \u003ca href=\"https://www.cnn.com/2019/05/17/africa/germany-to-return-namibia-art-scli-intl/index.html\">announced plans to return\u003c/a> art and artifacts taken from Africa during the colonial period. And more museum staff are meeting on the topic across Europe.\u003c/p>\n\u003cp>In 2006, France’s Quai Branly museum lent a set of wooden statues and carved furniture to the country of Benin. Originally seized from the region by a French military expedition in 1892, they were housed in a Beninese museum called the Fondation Zinsou.\u003c/p>\n\u003cp>Marie-Cécile Zinsou, founder of the museum, says people lined up for 3 to 4 hours, and that visitors to the exhibition left lots of messages of gratitude in the visitors’ book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But they also wondered: “Why do these objects have to go back in France, exactly?” Zinsou says. “People were really saying, ‘Do you think we could have them back for real, soon?'”\u003c/p>\n\u003cp>According to the most commonly cited figures from a 2007 UNESCO forum, 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa. Many, like the works from Benin, were taken during the colonial period and ended up in museums across Europe and North America.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/09/26/649600217/where-human-zoos-once-stood-a-belgian-museum-now-faces-its-colonial-past\">At the Africa Museum in Belgium\u003c/a>, director Guido Gryseels says 85 percent of the museum’s collection comes from the Congo—the site of Belgium’s former colony in Central Africa.\u003c/p>\n\u003cp>“Some were brought by missionaries,” Gryseels says. “Others were brought by civil servants … also, some were resulting from military expeditions and sometimes even from plundering.”\u003c/p>\n\u003cp>For decades, Congolese leaders have asked for these objects to be returned. Most of their requests, and those by African countries to other museums, have been refused—with some exceptions, particularly for human remains.\u003c/p>\n\u003cp>But recent events in Europe have raised the possibility of repatriations at a much larger scale. In addition to the plans announced in Germany, last year French President Emmanuel Macron commissioned \u003ca href=\"http://restitutionreport2018.com/sarr_savoy_en.pdf\">a study of how much African art French museums are holding\u003c/a> and to make recommendations about what to do with it.\u003c/p>\n\u003cp>Senegalese economist Felwine Sarr is one of the study’s authors. “The problem is you can’t lend people an object that fundamentally belongs to them,” he says.\u003c/p>\n\u003cp>The study recommended the return of a wide range of objects taken during the colonial period by force—or where there’s simply no documentation of consent. The report got mixed reviews in France, where Sarr estimates there are at least 90,000 African items in museums.\u003c/p>\n\u003cp>The vast majority are in just one, the state-owned Quai Branly in Paris. Its director, Stéphane Martin, said in an \u003ca href=\"https://www.europe1.fr/emissions/C-est-arrive-demain/patrick-cohen-avec-michel-wieviorka-stephane-martin-jean-louis-fournier-et-jose-garcia-3807632\">interview with radio station Europe 1\u003c/a> that restitution shouldn’t be a dirty word,but that the report was too drastic: “Museums should not be the hostages of the unhappy history of colonialism,” he said.\u003c/p>\n\u003cp>The wrangling over where art comes from and where it belongs isn’t new. The most famous example is \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113889188\">Greece’s longstanding dispute\u003c/a> with the British Museum over what the British call the Elgin marbles: sculptures from the Parthenon that have been at the London museum for almost 200 years.\u003c/p>\n\u003cfigure id=\"attachment_13863918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg\" alt=\"A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018. \u003ccite>(Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alexander Herman of the Institute of Art and Law in the U.K. says that in 2002, a group of directors from major international museums issued a general declaration on the topic of restitution. He characterized it as “claiming we shouldn’t just be kowtowing to these claimant countries and giving everything back, and things need to be shared with a world audience, and we’re the best places where this can happen.”\u003c/p>\n\u003cp>That sentiment still lingers, he says—the Elgin marbles are still in the British Museum—but he does think that other fronts may be more open. For his part, Guido Gryseels of the Africa Museum in Belgium acknowledges that attitudes are changing.\u003c/p>\n\u003cp>“We are fully aware that it’s not normal that such a large part of the African cultural heritage is in Europe or in Western museums,” he says.\u003c/p>\n\u003cp>Gryssels says he’s in discussion with his counterpart in the Congo to return works.\u003c/p>\n\u003cp>In France, some press coverage has suggested returns could leave vacant shelves in French museums. Cécile Fromont, a French historian of Central African art, says that’s not going to happen. One way of thinking about it, she says, is that more African art can go on display.\u003c/p>\n\u003cp>“We are talking about hundreds of thousands of objects,” Fromont says. “As somebody who wants to champion the display and study of the expressive art of the African continent, if we can get more objects on view—in more settings, in more museums, in more places around the world—that sounds like a great solution.”\u003c/p>\n\u003cp>For now, those wooden objects from Benin are back at the Quai Branly. With a loan from the French Development Agency, \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__www.france24.com_en_20190716-2Dbenin-2Dreadies-2Dreturn-2Dtreasures-2Dtaken-2Dfrance&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=xbeNc8dbx9Jc1UjCGoBhfLkLI91Xa3ESLCRxFVZJ_LQ&m=X3H645VzoGkTIW4nXMbaJBnjwOC2_iDxXCMTB-kSbUs&s=uLE4rJkQZs67i84TnpsYTN1mQQ8RSiBrcwB7jW4hO1Y&e=\">Benin is constructing a new museum\u003c/a> to receive them, set to open in 2021.\u003c/p>\n\u003cp>In July, the French Minister of Culture Franck Riester said the government was prepared to send them on loan to Benin even sooner. But it will take an act of the French Parliament to release them from the Quai Branly’s collection definitively—and another law to allow for wider, permanent returns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Across+Europe%2C+Museums+Rethink+What+To+Do+With+Their+African+Art+Collections&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
"headTitle": "‘Jaws’ Shark Gets His Bite Back: A Love Story | KQED",
"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"description": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
"title": "'Jaws' Shark Gets His Bite Back: A Love Story | KQED",
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"headline": "'Jaws' Shark Gets His Bite Back: A Love Story",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'When I Was White' Centers on the Formation of Race, Identity and Self",
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"content": "\u003cp>When one thinks of American blackness, there is the unsaid ugly truth that nearly all American blacks who have descended from the historical African diaspora in America have one (or several) rapacious white slave owners in their family tree at some point.\u003c/p>\n\u003cp>Here, in the early days of the United States, was the invention of racism for economic necessity. From 1619 until 1865, white male Americans chose to breed a black enslaved workforce through the state-sanctioned rape of black women to build the new nation and support their white supremacist class. Race became the single unifying identifier—determining everything about one’s life starting with this most basic division: enslaved or free.\u003c/p>\n\u003cp>The American law was that the “condition of the child followed that of the mother,” backed up by the “one drop rule,” the legal framework that dictated even one drop of blackness made an individual black, never white. The idea of blackness as a pollutant, a taint that would erode the purity of whiteness, was seized by politicians around the world then—and now.\u003c/p>\n\u003cp>Because of this legacy of sexual violence and anti-blackness, black and white mixed individuals have long been considered black in America.\u003c/p>\n\u003cp>To a much larger degree than many people would like to admit, race still determines a vast part of one’s life—social networks and mobility, birth and other medical care, employment opportunities and so on. Indeed, there is an entire genre of literature and film, popularized in the late 18th and early 19th centuries, composed of blacks “passing” for white to avoid this racism. Some of the most famous examples are Nella Larsen’s 1929 novel, \u003cem>Passing; \u003c/em>James Weldon Johnson’s 1912 opus, \u003cem>The Autobiography of an Ex-Colored Man; \u003c/em>and the 1959 film \u003cem>The Imitation of Life\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sarah Valentine, the author of the memoir \u003cem>When I Was White,\u003c/em> did not choose to pass for white; her mother made the choice for her. So Valentine was raised as white by white parents in white middle-class communities—only to discover as a young woman that her biological father was actually black. As Valentine endeavors to explore what her new identity means to her, she searches for ways to connect to her blackness. For Valentine, learning that she is black is to reject whiteness; she cannot comprehend how the privileges of whiteness can be held hand in hand with the racism the black body is subject to.\u003c/p>\n\u003cp>Valentine has good reason to feel this way; her space of “passing” for white puts her in situations where, because they assume she is one of their own, she hears the racist things white people say when there are no black people around—starting with her own family. Valentine’s pain when her mother refuses to let her attend a school dance because her date is black, dismisses black people as lazy welfare spongers who live in the ghetto or bans Valentine from watching TV shows with black people is palpable.\u003c/p>\n\u003cp>Because of her white mother’s ongoing racism throughout her childhood, Valentine’s first understanding of blackness is as other—as negative, dangerous and wrong. “I got the message that black was undesirable,” Valentine writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863402 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg\" alt=\"\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85-160x247.jpg 160w\" sizes=\"(max-width: 388px) 100vw, 388px\">At the center of \u003cem>When I Was White\u003c/em> is this immensely complicated relationship between Valentine and her mother. As Valentine seeks to learn more about her biological father, her mother will only say: “Your father was a black man who raped me in college.” Valentine tries to reckon with this, seeking more information from her mother—and in the aftermath of her mother’s ever changing narrative of Valentine’s conception and constant refusals to answer Valentine’s questions, she seeks answers from her mother’s college friends as well. Valentine, torn between respecting her mother’s trauma and wanting to connect with her biological father, struggles to come to terms with the many layers of the situation, navigating the line between the importance of believing women’s accounts of rape and the awareness of the history of white women’s false rape accusations against black men as an excuse for lynching and other racial violence throughout American history.\u003c/p>\n\u003cp>Valentine is at her best when we see her sift through this history, creating well-crafted scenes that resonate with depth and emotional weight in a commitment to get to the truth—even if it paints her in a negative light. She reveals that everyone suspected she had black heritage—friends, teachers, even she herself—but to prevent jeopardizing her family dynamic, no one spoke of it. Scared, the young Valentine had also remained silent.\u003c/p>\n\u003cp>“I worried that acknowledging I was black and had a different father than the one I grew up with could shatter the unity of the family my parents had worked so hard to create,” Valentine writes. Indeed, after taking a DNA test and finding out they are not biologically related, the man Valentine knew as her father moved out of the home he shared with Valentine’s mother and into an apartment of his own 300 miles away.\u003c/p>\n\u003cp>Black and white biraciality in this country has long been understood as a type of blackness, and the presence of biracial individuals within blackness has added to the power of the black cultural block. Without biracial being considered black, for example, America would not yet have had its first black president.\u003c/p>\n\u003cp>But why, then, is biracial not also a type of white? If you look past the racist origins of the “one drop rule,” what happens to our thinking of racial duality?\u003c/p>\n\u003cp>One wonders: Why is this mutually exclusive? Why must Valentine choose either black or white? One wonders, too: If the author was Latina and black or Asian and black, would discovering her blackness mean losing her Latinx or Asian identity? We are beyond black and white, beyond the “one drop rule,” in American society. So, should our understanding of multiracial identity evolve too? Can it evolve?\u003c/p>\n\u003cp>Or is the history and continued presence of white supremacy in our culture so virulent that whiteness cannot be held in the same conversation as other multiracial identities?\u003c/p>\n\u003cp>These and other questions are tackled in \u003cem>When I Was White. \u003c/em>But in a larger sense, Valentine’s memoir documents an experience any black individual in the U.S. has had: From birth you have seen yourself as a normal human being, worthy of just as much respect and personhood as anyone in America. But then, upon that first pivotal experience with racism, you realize that in this society, because of your skin, you are seen as \u003cem>other;\u003c/em> because of your skin you are seen as \u003cem>less than \u003c/em>and treated accordingly—and always with the threat of violence against your body ready to rise.\u003c/p>\n\u003cp>As the United States continues to become more brown and black and less white—resulting in a xenophobic backlash against brown and black Americans and a nostalgia by some for white European immigrants—the ideas in \u003cem>When I Was White \u003c/em>become even more necessary. Here, quite simply, is a masterful explication on the formation of self and identity—of learning to trust yourself instead of the lies other people, no matter how close, tell you about who you are.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a Ugandan-American poet, essayist and writer. She is a contributing editor for The Root and has written for \u003c/em>The Guardian, The Sun, Creative Nonfiction Magazine, The Daily Beast\u003cem> and \u003c/em>Salon,\u003cem> among others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+I+Was+White%27+Centers+On+The+Formation+Of+Race%2C+Identity+And+Self+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When one thinks of American blackness, there is the unsaid ugly truth that nearly all American blacks who have descended from the historical African diaspora in America have one (or several) rapacious white slave owners in their family tree at some point.\u003c/p>\n\u003cp>Here, in the early days of the United States, was the invention of racism for economic necessity. From 1619 until 1865, white male Americans chose to breed a black enslaved workforce through the state-sanctioned rape of black women to build the new nation and support their white supremacist class. Race became the single unifying identifier—determining everything about one’s life starting with this most basic division: enslaved or free.\u003c/p>\n\u003cp>The American law was that the “condition of the child followed that of the mother,” backed up by the “one drop rule,” the legal framework that dictated even one drop of blackness made an individual black, never white. The idea of blackness as a pollutant, a taint that would erode the purity of whiteness, was seized by politicians around the world then—and now.\u003c/p>\n\u003cp>Because of this legacy of sexual violence and anti-blackness, black and white mixed individuals have long been considered black in America.\u003c/p>\n\u003cp>To a much larger degree than many people would like to admit, race still determines a vast part of one’s life—social networks and mobility, birth and other medical care, employment opportunities and so on. Indeed, there is an entire genre of literature and film, popularized in the late 18th and early 19th centuries, composed of blacks “passing” for white to avoid this racism. Some of the most famous examples are Nella Larsen’s 1929 novel, \u003cem>Passing; \u003c/em>James Weldon Johnson’s 1912 opus, \u003cem>The Autobiography of an Ex-Colored Man; \u003c/em>and the 1959 film \u003cem>The Imitation of Life\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sarah Valentine, the author of the memoir \u003cem>When I Was White,\u003c/em> did not choose to pass for white; her mother made the choice for her. So Valentine was raised as white by white parents in white middle-class communities—only to discover as a young woman that her biological father was actually black. As Valentine endeavors to explore what her new identity means to her, she searches for ways to connect to her blackness. For Valentine, learning that she is black is to reject whiteness; she cannot comprehend how the privileges of whiteness can be held hand in hand with the racism the black body is subject to.\u003c/p>\n\u003cp>Valentine has good reason to feel this way; her space of “passing” for white puts her in situations where, because they assume she is one of their own, she hears the racist things white people say when there are no black people around—starting with her own family. Valentine’s pain when her mother refuses to let her attend a school dance because her date is black, dismisses black people as lazy welfare spongers who live in the ghetto or bans Valentine from watching TV shows with black people is palpable.\u003c/p>\n\u003cp>Because of her white mother’s ongoing racism throughout her childhood, Valentine’s first understanding of blackness is as other—as negative, dangerous and wrong. “I got the message that black was undesirable,” Valentine writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863402 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg\" alt=\"\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85-160x247.jpg 160w\" sizes=\"(max-width: 388px) 100vw, 388px\">At the center of \u003cem>When I Was White\u003c/em> is this immensely complicated relationship between Valentine and her mother. As Valentine seeks to learn more about her biological father, her mother will only say: “Your father was a black man who raped me in college.” Valentine tries to reckon with this, seeking more information from her mother—and in the aftermath of her mother’s ever changing narrative of Valentine’s conception and constant refusals to answer Valentine’s questions, she seeks answers from her mother’s college friends as well. Valentine, torn between respecting her mother’s trauma and wanting to connect with her biological father, struggles to come to terms with the many layers of the situation, navigating the line between the importance of believing women’s accounts of rape and the awareness of the history of white women’s false rape accusations against black men as an excuse for lynching and other racial violence throughout American history.\u003c/p>\n\u003cp>Valentine is at her best when we see her sift through this history, creating well-crafted scenes that resonate with depth and emotional weight in a commitment to get to the truth—even if it paints her in a negative light. She reveals that everyone suspected she had black heritage—friends, teachers, even she herself—but to prevent jeopardizing her family dynamic, no one spoke of it. Scared, the young Valentine had also remained silent.\u003c/p>\n\u003cp>“I worried that acknowledging I was black and had a different father than the one I grew up with could shatter the unity of the family my parents had worked so hard to create,” Valentine writes. Indeed, after taking a DNA test and finding out they are not biologically related, the man Valentine knew as her father moved out of the home he shared with Valentine’s mother and into an apartment of his own 300 miles away.\u003c/p>\n\u003cp>Black and white biraciality in this country has long been understood as a type of blackness, and the presence of biracial individuals within blackness has added to the power of the black cultural block. Without biracial being considered black, for example, America would not yet have had its first black president.\u003c/p>\n\u003cp>But why, then, is biracial not also a type of white? If you look past the racist origins of the “one drop rule,” what happens to our thinking of racial duality?\u003c/p>\n\u003cp>One wonders: Why is this mutually exclusive? Why must Valentine choose either black or white? One wonders, too: If the author was Latina and black or Asian and black, would discovering her blackness mean losing her Latinx or Asian identity? We are beyond black and white, beyond the “one drop rule,” in American society. So, should our understanding of multiracial identity evolve too? Can it evolve?\u003c/p>\n\u003cp>Or is the history and continued presence of white supremacy in our culture so virulent that whiteness cannot be held in the same conversation as other multiracial identities?\u003c/p>\n\u003cp>These and other questions are tackled in \u003cem>When I Was White. \u003c/em>But in a larger sense, Valentine’s memoir documents an experience any black individual in the U.S. has had: From birth you have seen yourself as a normal human being, worthy of just as much respect and personhood as anyone in America. But then, upon that first pivotal experience with racism, you realize that in this society, because of your skin, you are seen as \u003cem>other;\u003c/em> because of your skin you are seen as \u003cem>less than \u003c/em>and treated accordingly—and always with the threat of violence against your body ready to rise.\u003c/p>\n\u003cp>As the United States continues to become more brown and black and less white—resulting in a xenophobic backlash against brown and black Americans and a nostalgia by some for white European immigrants—the ideas in \u003cem>When I Was White \u003c/em>become even more necessary. Here, quite simply, is a masterful explication on the formation of self and identity—of learning to trust yourself instead of the lies other people, no matter how close, tell you about who you are.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"soldout": {
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