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"content": "\u003cdiv class=\"post-body\">\u003cp>In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\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/gSYmJur0Npw'\n title='//www.youtube.com/embed/gSYmJur0Npw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\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/ssLVKLJ8ojU'\n title='//www.youtube.com/embed/ssLVKLJ8ojU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\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/dO5E4wkg0hA'\n title='//www.youtube.com/embed/dO5E4wkg0hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\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/lmIeod8jk4k'\n title='//www.youtube.com/embed/lmIeod8jk4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\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/ywcr3lYuVo0'\n title='//www.youtube.com/embed/ywcr3lYuVo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\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/3IHiUYU4wQ8'\n title='//www.youtube.com/embed/3IHiUYU4wQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fashion is flash. Fashion is beauty. Fashion is \u003cem>right freaking now\u003c/em>. And believe it or not, fashion is resistance.\u003c/p>\n\u003cp>That last line is the mantra of Júlio César da Silva Lima, the visionary cofounder of the Rio de Janeiro modeling agency Jacaré é Moda. We meet Julio at an open casting call at the beginning of \u003cem>Favela é Moda (Favela Is Fashion)\u003c/em>, Brazilian filmmaker Emilio Domingos’ marvelous 2019 documentary, preaching his philosophy and teaching runway technique to stylish young Black women and men.[aside label=\"Related Stories\" postID=\"arts_13923936,arts_13924879\"]\u003c/p>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">\u003cem>Favela é Moda\u003c/em>\u003c/a>, screening Wednesday, Feb. 15 at the Museum of the African Diaspora, is the first of two films in the museum’s screening-and-discussion series accompanying \u003cem>The New Black Vanguard: Photography Between Art and Fashion\u003c/em> (continuing through March 5).\u003c/p>\n\u003cp>Julio’s agency aims to place Black models in the upper strata of the fashion world. But that’s just one (admittedly huge) component of his business model. Crucially, he located the agency in the Jacarezinho favela, the kind of environment where his aspiring models were born, formed and live. “Can you imagine the favela being its own tool for empowerment?” he declares.\u003c/p>\n\u003cp>The true stars of \u003cem>Favela é Moda — \u003c/em>aside from Julio’s dynamic, inspiring presence — are the self-aware, gender-affirming beauties he’s accepted into his program. Mature and articulate, they don’t reek of ambition nor lust for fame, riches or movie-star consorts. They know who they are, they know how the world sees them (that is, they know how white Rio sees Black favela residents) and they have the courage to express their sexual identities — and their style — on the street.\u003c/p>\n\u003cp>Structurally, the film follows a group of new recruits through their agency training. The program is designed, surprisingly, to build trust and camaraderie among the models rather than to groom and elevate future stars. There isn’t a whiff of competition — each person has a unique and different presentation — which distinguishes the film from a reality TV show. Along the way, the typical audience expectation of a big payoff — getting the job — evaporates, and we are rewarded with a celebration of identity instead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VejgQz5x3_4\u003c/p>\n\u003cp>I met up with longtime California Newsreel director Cornelius Moore, who chose the MoAD films, for a casual conversation over mint tea at Arizmendi Bakery in the Mission. When I suggested that \u003cem>Favela é Moda\u003c/em> wasn’t a political film, he pushed back, noting the various ways in which the aspiring models convey their experiences of racism, poverty, homophobia and lack of opportunity.\u003c/p>\n\u003cp>Moore is right, of course. The compliment I intended to pay to Emilio Domingos (whose upcoming documentary, \u003cem>Black Rio! Black Power!\u003c/em>, is a cultural history propelled by a music scene) is that he didn’t make an overtly political film — that is, a polemic. For example, there are almost no shots of the favelas. The intent isn’t to sanitize the models’ backgrounds, but to avoid defining them (and imprisoning them) by their environment. For that’s precisely what Rio’s upper classes do.\u003c/p>\n\u003cp>\u003cem>Favela é Moda\u003c/em> makes its points organically, through its brave, resilient, endearing and beautiful characters. They are people you’ll relish spending time with.\u003c/p>\n\u003cp>If identity is the motor of \u003cem>Favela é Moda\u003c/em>, fashion as full-on self-expression provides the juju and heartbeat of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">\u003cem>BANGAOLOGIA: The Science of Style\u003c/em> (2016)\u003c/a>, screening Feb. 22 at MoAD. José Eduardo Paulino dos Santos’ colorful survey of Angola’s flamboyant signature style, Banga, is immersive and entertaining, but not altogether persuasive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fPwESt8L98U\u003c/p>\n\u003cp>The filmmaker is better known, at home and abroad, as the musician, clothing designer and TV producer Coréon Dú. So he’s welcomed into seemingly every cultural corner of Angola, including rural villages where traditional, heavily symbolic clothes and accessories are still embraced. But he finds his thrill primarily in Luanda, the capital, which brims with everyday people displaying their Banga.\u003c/p>\n\u003cp>Banga, according to one of the academics interviewed by Dú, is “a style that isn’t discreet, but the exact opposite. The less discreet, the better, because that’s the only way to stand out.” Papa Swegué, a fastidious Kudoro (music and dance) artist, is the perfect exemplar, sporting a dressy pink suit with short pants that is all the more impressive for its incongruity in his dusty, low-income neighborhood.\u003c/p>\n\u003cp>Everyone Dú talks to knows what Banga is, even if they can’t quite define it. It’s a fusion of style, vanity and performance (including movement) that can be expressed through the singular handiwork of ace tailors or curious combinations of mass-market clothes combed from street stalls. Modernity and tradition intersect and overlap. Above all, seemingly every Angolan asserts that Banga is unique to Angolans. I’m not sure \u003cem>BANGAOLOGIA\u003c/em> makes that case, but it’s pleasures are undeniable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film bounces to New York, Los Angeles and Lisbon to suggest the influence of Angolan style and attitude on those urban cultures. Angolan models have landed a foothold in the fashion world and, even with their astonishing beauty, their defining quality is their self-possession.\u003c/p>\n\u003cp>Angola, on the west coast of southern Africa, was a Portuguese colony for centuries. A civil war erupted when the country gained its independence in 1975. The professors and cultural critics interviewed by Dú don’t delve deeply into the roots of Banga, perhaps because the post-colonial impulse to claim and assert one’s identity and style — that is, to proclaim one’s freedom — is self-evident.\u003c/p>\n\u003cp>The one unambiguous takeaway from \u003cem>BANGAOLOGIA\u003c/em>, expressed most directly through clothes and posture and attitude rather than testimony, is that Black is beautiful. Maybe that was a radical concept half a century (or more) ago, but surely not anymore.\u003c/p>\n\u003cp>Finally, if you go to \u003cem>BANGAOLOGIA\u003c/em>, dress up a bit. It doesn’t have to be a pink suit with short pants, necessarily, but something with flash. Just as it’s wise to see a movie about food on a full stomach, you’ll feel better if you’re sporting some style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">Favela é Moda\u003c/a>‘ screens at 6:30 p.m. Wednesday, Feb. 15 at the Museum of the African Diaspora in San Francisco. ‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">BANGAOLOGIA\u003c/a>‘ screens at 6:30 p.m. the following Wednesday, Feb. 22. For details, visit \u003ca href=\"https://www.moadsf.org/\">moadsf.org\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fashion is flash. Fashion is beauty. Fashion is \u003cem>right freaking now\u003c/em>. And believe it or not, fashion is resistance.\u003c/p>\n\u003cp>That last line is the mantra of Júlio César da Silva Lima, the visionary cofounder of the Rio de Janeiro modeling agency Jacaré é Moda. We meet Julio at an open casting call at the beginning of \u003cem>Favela é Moda (Favela Is Fashion)\u003c/em>, Brazilian filmmaker Emilio Domingos’ marvelous 2019 documentary, preaching his philosophy and teaching runway technique to stylish young Black women and men.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">\u003cem>Favela é Moda\u003c/em>\u003c/a>, screening Wednesday, Feb. 15 at the Museum of the African Diaspora, is the first of two films in the museum’s screening-and-discussion series accompanying \u003cem>The New Black Vanguard: Photography Between Art and Fashion\u003c/em> (continuing through March 5).\u003c/p>\n\u003cp>Julio’s agency aims to place Black models in the upper strata of the fashion world. But that’s just one (admittedly huge) component of his business model. Crucially, he located the agency in the Jacarezinho favela, the kind of environment where his aspiring models were born, formed and live. “Can you imagine the favela being its own tool for empowerment?” he declares.\u003c/p>\n\u003cp>The true stars of \u003cem>Favela é Moda — \u003c/em>aside from Julio’s dynamic, inspiring presence — are the self-aware, gender-affirming beauties he’s accepted into his program. Mature and articulate, they don’t reek of ambition nor lust for fame, riches or movie-star consorts. They know who they are, they know how the world sees them (that is, they know how white Rio sees Black favela residents) and they have the courage to express their sexual identities — and their style — on the street.\u003c/p>\n\u003cp>Structurally, the film follows a group of new recruits through their agency training. The program is designed, surprisingly, to build trust and camaraderie among the models rather than to groom and elevate future stars. There isn’t a whiff of competition — each person has a unique and different presentation — which distinguishes the film from a reality TV show. Along the way, the typical audience expectation of a big payoff — getting the job — evaporates, and we are rewarded with a celebration of identity instead.\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/VejgQz5x3_4'\n title='//www.youtube.com/embed/VejgQz5x3_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I met up with longtime California Newsreel director Cornelius Moore, who chose the MoAD films, for a casual conversation over mint tea at Arizmendi Bakery in the Mission. When I suggested that \u003cem>Favela é Moda\u003c/em> wasn’t a political film, he pushed back, noting the various ways in which the aspiring models convey their experiences of racism, poverty, homophobia and lack of opportunity.\u003c/p>\n\u003cp>Moore is right, of course. The compliment I intended to pay to Emilio Domingos (whose upcoming documentary, \u003cem>Black Rio! Black Power!\u003c/em>, is a cultural history propelled by a music scene) is that he didn’t make an overtly political film — that is, a polemic. For example, there are almost no shots of the favelas. The intent isn’t to sanitize the models’ backgrounds, but to avoid defining them (and imprisoning them) by their environment. For that’s precisely what Rio’s upper classes do.\u003c/p>\n\u003cp>\u003cem>Favela é Moda\u003c/em> makes its points organically, through its brave, resilient, endearing and beautiful characters. They are people you’ll relish spending time with.\u003c/p>\n\u003cp>If identity is the motor of \u003cem>Favela é Moda\u003c/em>, fashion as full-on self-expression provides the juju and heartbeat of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">\u003cem>BANGAOLOGIA: The Science of Style\u003c/em> (2016)\u003c/a>, screening Feb. 22 at MoAD. José Eduardo Paulino dos Santos’ colorful survey of Angola’s flamboyant signature style, Banga, is immersive and entertaining, but not altogether persuasive.\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/fPwESt8L98U'\n title='//www.youtube.com/embed/fPwESt8L98U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The filmmaker is better known, at home and abroad, as the musician, clothing designer and TV producer Coréon Dú. So he’s welcomed into seemingly every cultural corner of Angola, including rural villages where traditional, heavily symbolic clothes and accessories are still embraced. But he finds his thrill primarily in Luanda, the capital, which brims with everyday people displaying their Banga.\u003c/p>\n\u003cp>Banga, according to one of the academics interviewed by Dú, is “a style that isn’t discreet, but the exact opposite. The less discreet, the better, because that’s the only way to stand out.” Papa Swegué, a fastidious Kudoro (music and dance) artist, is the perfect exemplar, sporting a dressy pink suit with short pants that is all the more impressive for its incongruity in his dusty, low-income neighborhood.\u003c/p>\n\u003cp>Everyone Dú talks to knows what Banga is, even if they can’t quite define it. It’s a fusion of style, vanity and performance (including movement) that can be expressed through the singular handiwork of ace tailors or curious combinations of mass-market clothes combed from street stalls. Modernity and tradition intersect and overlap. Above all, seemingly every Angolan asserts that Banga is unique to Angolans. I’m not sure \u003cem>BANGAOLOGIA\u003c/em> makes that case, but it’s pleasures are undeniable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film bounces to New York, Los Angeles and Lisbon to suggest the influence of Angolan style and attitude on those urban cultures. Angolan models have landed a foothold in the fashion world and, even with their astonishing beauty, their defining quality is their self-possession.\u003c/p>\n\u003cp>Angola, on the west coast of southern Africa, was a Portuguese colony for centuries. A civil war erupted when the country gained its independence in 1975. The professors and cultural critics interviewed by Dú don’t delve deeply into the roots of Banga, perhaps because the post-colonial impulse to claim and assert one’s identity and style — that is, to proclaim one’s freedom — is self-evident.\u003c/p>\n\u003cp>The one unambiguous takeaway from \u003cem>BANGAOLOGIA\u003c/em>, expressed most directly through clothes and posture and attitude rather than testimony, is that Black is beautiful. Maybe that was a radical concept half a century (or more) ago, but surely not anymore.\u003c/p>\n\u003cp>Finally, if you go to \u003cem>BANGAOLOGIA\u003c/em>, dress up a bit. It doesn’t have to be a pink suit with short pants, necessarily, but something with flash. Just as it’s wise to see a movie about food on a full stomach, you’ll feel better if you’re sporting some style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">Favela é Moda\u003c/a>‘ screens at 6:30 p.m. Wednesday, Feb. 15 at the Museum of the African Diaspora in San Francisco. ‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">BANGAOLOGIA\u003c/a>‘ screens at 6:30 p.m. the following Wednesday, Feb. 22. For details, visit \u003ca href=\"https://www.moadsf.org/\">moadsf.org\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "We Need to Talk About Leonardo DiCaprio",
"headTitle": "We Need to Talk About Leonardo DiCaprio | KQED",
"content": "\u003cp>Twitter raised a collective eyebrow earlier this week when photos emerged of 48-year-old \u003ca href=\"https://twitter.com/DrProudman/status/1622537376160423936\">Leonardo DiCaprio hanging out with a 19-year-old French model named Eden Polani.\u003c/a> No one was surprised, of course, but assumptions about what was happening quickly spread online.\u003c/p>\n\u003cp>[aside postid='arts_13923161']The age gap between DiCaprio and Polani is similar to the one between Pedro Pascal (47) and Bella Ramsey (19) from \u003cem>The Last of Us\u003c/em>, people pointed out. It’s also similar to the one between David Harbour (47) and Millie Bobby Brown (18) from \u003cem>Stranger Things\u003c/em>, others chimed in.\u003c/p>\n\u003cp>Wouldn’t we all be uncomfortable if either of these duos became couples? The short answer is, hell yes, we would. And not just because the women in question are still young enough to play underage people on television, or that those men play their guardians.\u003c/p>\n\u003cp>https://twitter.com/jodieegrace/status/1623032506164613126\u003c/p>\n\u003cp>On Wednesday, per TMZ, “a source close to DiCaprio” denied that he’s dating Polani. As if to prove this, TMZ noted that DiCaprio has also recently been linked with 23-year-old model \u003ca href=\"https://www.instagram.com/victoriaalamas/?hl=en\">Victoria Lamas\u003c/a> and has been \u003ca href=\"https://www.tmz.com/2023/01/03/leonardo-dicaprio-vacation-yacht-women-st-barts-caribbean-photos/\">photographed on a yacht with a group of young models\u003c/a>. It’s not terribly surprising that the public jumped to conclusions about DiCaprio and Polani, given how he’s been behaving for literally decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The world has known about DiCaprio’s dating preferences for a very, very long time — namely, that he appears interested almost exclusively in young models, and that he doesn’t date women past the age of 25. DiCaprio’s compulsion to date and then dump women under 25 has been the topic of too many jokes to list here, and it would be boring for me to do so — you’ve already heard them. We all have.\u003c/p>\n\u003cp>Someone on Reddit even made a handy graph in 2021:\u003c/p>\n\u003cfigure id=\"attachment_13924887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924887\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png\" alt=\"A graph showing, on one line, Leonardo DiCaprio's age, and on another beneath it, the fluctuating ages of his girlfriends, none of whom are with him past 25.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stark, isn’t it? \u003ccite>(TrustLittleBrother on Reddit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What the graph doesn’t include are the many flings he had with models in the ‘90s (everyone was the same age, it’s fine) or, more recently, the end of DiCaprio’s relationship with Camila Morrone. The couple lasted four years and came to an end three months after the model turned — you’ve guessed it! — 25. Incidentally, DiCaprio and Nina Agdal broke up two months after her 25th birthday. He and Kelly Rohrbach split a month after she hit that milestone too. Bar Refaeli made it four months.\u003c/p>\n\u003cp>To be clear, age gaps, in and of themselves, aren’t the problem. We’re all going to fall in love with who we fall in love with, and sometimes that person just wasn’t born in the same era — love is love is love. When \u003ca href=\"https://www.kqed.org/arts/13869451/keanu-reeves-dennis-quaid-and-our-national-obsession-with-womens-age\">we pass judgement on younger women who date older men\u003c/a>, we often strip them of their agency and reduce them to trophies.\u003c/p>\n\u003cp>[aside postid='arts_13869451']But the issue with DiCaprio is not love with an age gap. The longer this all goes on, the less his situation looks even vaguely love-related. It looks like a pattern of swiftly replacing one model for the next once they hit a specific age milestone. Not all of them even make it that far — Blake Lively was 23 when the couple split (he was 36), Erin Heatherton was 22 (he was 37), Toni Garrn was 21 (he was 39).\u003c/p>\n\u003cp>From the outside, it would appear these young women are interchangeable to him — disposable, like cars he’s done driving or suits he’s sick of wearing. They are reduced to trophies by the very circumstance of getting involved with DiCaprio in the first place, because we all know they’ll be discarded before they have time to develop a single, solitary wrinkle. (\u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/leonardo-dicaprios-girlfriend-turned-25-27265735\">The end of his relationship with Morrone was widely predicted\u003c/a> when her 25th birthday rolled around.)\u003c/p>\n\u003cp>Even when we take into account that these relationships are clearly consensual, it’s still surprising that, throughout all of the post-#MeToo conversations about the negative effects of power imbalances in relationships and sexual situations, DiCaprio hasn’t really come up. If we now recognize that Monica Lewinsky was in a seriously vulnerable position during her affair with Bill Clinton, shouldn’t we also be thinking about the welfare of these women?\u003c/p>\n\u003cp>I’d argue that one of the reasons we haven’t is because these very young women are some of the most beautiful in the world. As such, there is an assumption that, since they could probably have anyone they wanted, if they end up choosing DiCaprio, he must be a good choice. The reality is, being exceptionally beautiful doesn’t make you worldly before your time, or necessarily equipped to deal with a man who is twice your age, world famous and who has been playing the same game with legions of women since before you were even born.\u003c/p>\n\u003cp>One of the reasons we’ve traditionally processed DiCaprio’s love life via jokes rather than actual judgment is because the actor has not broken any laws that we know of. That \u003ca href=\"https://www.cosmopolitan.com/entertainment/celebs/a30359722/leonardo-dicaprio-camila-morrone-relationship-timeline-age-gap/\">DiCaprio first met Camila Morrone when he was 35 and she was 12\u003c/a> doesn’t come up nearly as often as it should. (They were introduced by Morrone’s stepfather, Al Pacino.) That many of the women DiCaprio dates aren’t old enough to legally drink when he first meets them has also been under-discussed.\u003c/p>\n\u003cp>[aside postid='arts_13918217']Another major factor that’s been keeping DiCaprio off the hook is that he was a kid himself when he first came to prominence. His roles playing troubled teens in 1993’s \u003cem>What’s Eating Gilbert Grape?\u003c/em> and 1996’s \u003cem>Romeo & Juliet\u003c/em> are seared into the culture. He was just 22 when he made \u003cem>Titanic\u003c/em>. Because of this, even as he ages — dad bod and all — we still see a very young man when we look at him. If he looked more like Pedro Pascal or David Harbour, or if he’d only become famous in his thirties, we’d have noticed the depth of his dating life’s ick factor way sooner.\u003c/p>\n\u003cp>It’s also worth remembering that DiCaprio’s penchant for chasing young models wasn’t immediately obvious. In his younger years, he had two longterm relationships. The first was with Gisele Bundchen (six years his junior) for five years, and Bar Refaeli (10 years his junior) for five and a half. Perfectly normal dating behavior for a man in his twenties and thirties. Was it weird that the two women so closely resembled each other? A little. But it’s significantly stranger now that \u003cem>all\u003c/em> of the women who have followed Bunchen and Refaeli have also looked like Bundchen and Refaeli. (Morrone was a brunette — that’s the closest DiCaprio has come to broadening his field of vision.)\u003c/p>\n\u003cfigure id=\"attachment_13924888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg\" alt=\"A photo of a white, fair-haired man in a suit embracing a tall slender woman with long blond hair, next to a photo of a different tall slender woman with long blond hair.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1920x1782.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) DiCaprio with Gisele Bundchen in 2005, (R) Bar Refaeli in 2007. \u003ccite>((L) Jeffrey Mayer/WireImage (R) FRANCOIS GUILLOT/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his well-known status as a serial dater, DiCaprio has never been portrayed as unlucky in love. This is, of course, because he’s a man — no famous man, regardless of individual circumstances, is ever presented that way. But in DiCaprio’s case, there is also an assumption that he’s not really taking any of these women seriously in the first place. Collectively, we have accepted that this man is going to discard the young women he surrounds himself with, then quickly replace them.\u003c/p>\n\u003cp>It’s about time we start examining how much we want to continue to turn a blind eye, laugh at the jokes and move on. Because when we as a nation regularly laugh at women being treated as disposable objects, we’re normalizing it. And that keeps archetypes about rich men as playboys and beautiful women as playthings in the culture. Do we really want those grossly outdated constructs still hanging around in 2023?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When it comes to DiCaprio, just because a behavior is technically legal doesn’t mean that something very disturbing isn’t going on in full view of the world. As \u003ca href=\"https://twitter.com/aaronhoyland/status/1622986572303044608\">one shrewd Twitter user noted this week\u003c/a>: “I really don’t think the threshold for acceptable behavior towards women should be, ‘But is it criminal?’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter raised a collective eyebrow earlier this week when photos emerged of 48-year-old \u003ca href=\"https://twitter.com/DrProudman/status/1622537376160423936\">Leonardo DiCaprio hanging out with a 19-year-old French model named Eden Polani.\u003c/a> No one was surprised, of course, but assumptions about what was happening quickly spread online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The age gap between DiCaprio and Polani is similar to the one between Pedro Pascal (47) and Bella Ramsey (19) from \u003cem>The Last of Us\u003c/em>, people pointed out. It’s also similar to the one between David Harbour (47) and Millie Bobby Brown (18) from \u003cem>Stranger Things\u003c/em>, others chimed in.\u003c/p>\n\u003cp>Wouldn’t we all be uncomfortable if either of these duos became couples? The short answer is, hell yes, we would. And not just because the women in question are still young enough to play underage people on television, or that those men play their guardians.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Wednesday, per TMZ, “a source close to DiCaprio” denied that he’s dating Polani. As if to prove this, TMZ noted that DiCaprio has also recently been linked with 23-year-old model \u003ca href=\"https://www.instagram.com/victoriaalamas/?hl=en\">Victoria Lamas\u003c/a> and has been \u003ca href=\"https://www.tmz.com/2023/01/03/leonardo-dicaprio-vacation-yacht-women-st-barts-caribbean-photos/\">photographed on a yacht with a group of young models\u003c/a>. It’s not terribly surprising that the public jumped to conclusions about DiCaprio and Polani, given how he’s been behaving for literally decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The world has known about DiCaprio’s dating preferences for a very, very long time — namely, that he appears interested almost exclusively in young models, and that he doesn’t date women past the age of 25. DiCaprio’s compulsion to date and then dump women under 25 has been the topic of too many jokes to list here, and it would be boring for me to do so — you’ve already heard them. We all have.\u003c/p>\n\u003cp>Someone on Reddit even made a handy graph in 2021:\u003c/p>\n\u003cfigure id=\"attachment_13924887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924887\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png\" alt=\"A graph showing, on one line, Leonardo DiCaprio's age, and on another beneath it, the fluctuating ages of his girlfriends, none of whom are with him past 25.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stark, isn’t it? \u003ccite>(TrustLittleBrother on Reddit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What the graph doesn’t include are the many flings he had with models in the ‘90s (everyone was the same age, it’s fine) or, more recently, the end of DiCaprio’s relationship with Camila Morrone. The couple lasted four years and came to an end three months after the model turned — you’ve guessed it! — 25. Incidentally, DiCaprio and Nina Agdal broke up two months after her 25th birthday. He and Kelly Rohrbach split a month after she hit that milestone too. Bar Refaeli made it four months.\u003c/p>\n\u003cp>To be clear, age gaps, in and of themselves, aren’t the problem. We’re all going to fall in love with who we fall in love with, and sometimes that person just wasn’t born in the same era — love is love is love. When \u003ca href=\"https://www.kqed.org/arts/13869451/keanu-reeves-dennis-quaid-and-our-national-obsession-with-womens-age\">we pass judgement on younger women who date older men\u003c/a>, we often strip them of their agency and reduce them to trophies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the issue with DiCaprio is not love with an age gap. The longer this all goes on, the less his situation looks even vaguely love-related. It looks like a pattern of swiftly replacing one model for the next once they hit a specific age milestone. Not all of them even make it that far — Blake Lively was 23 when the couple split (he was 36), Erin Heatherton was 22 (he was 37), Toni Garrn was 21 (he was 39).\u003c/p>\n\u003cp>From the outside, it would appear these young women are interchangeable to him — disposable, like cars he’s done driving or suits he’s sick of wearing. They are reduced to trophies by the very circumstance of getting involved with DiCaprio in the first place, because we all know they’ll be discarded before they have time to develop a single, solitary wrinkle. (\u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/leonardo-dicaprios-girlfriend-turned-25-27265735\">The end of his relationship with Morrone was widely predicted\u003c/a> when her 25th birthday rolled around.)\u003c/p>\n\u003cp>Even when we take into account that these relationships are clearly consensual, it’s still surprising that, throughout all of the post-#MeToo conversations about the negative effects of power imbalances in relationships and sexual situations, DiCaprio hasn’t really come up. If we now recognize that Monica Lewinsky was in a seriously vulnerable position during her affair with Bill Clinton, shouldn’t we also be thinking about the welfare of these women?\u003c/p>\n\u003cp>I’d argue that one of the reasons we haven’t is because these very young women are some of the most beautiful in the world. As such, there is an assumption that, since they could probably have anyone they wanted, if they end up choosing DiCaprio, he must be a good choice. The reality is, being exceptionally beautiful doesn’t make you worldly before your time, or necessarily equipped to deal with a man who is twice your age, world famous and who has been playing the same game with legions of women since before you were even born.\u003c/p>\n\u003cp>One of the reasons we’ve traditionally processed DiCaprio’s love life via jokes rather than actual judgment is because the actor has not broken any laws that we know of. That \u003ca href=\"https://www.cosmopolitan.com/entertainment/celebs/a30359722/leonardo-dicaprio-camila-morrone-relationship-timeline-age-gap/\">DiCaprio first met Camila Morrone when he was 35 and she was 12\u003c/a> doesn’t come up nearly as often as it should. (They were introduced by Morrone’s stepfather, Al Pacino.) That many of the women DiCaprio dates aren’t old enough to legally drink when he first meets them has also been under-discussed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Another major factor that’s been keeping DiCaprio off the hook is that he was a kid himself when he first came to prominence. His roles playing troubled teens in 1993’s \u003cem>What’s Eating Gilbert Grape?\u003c/em> and 1996’s \u003cem>Romeo & Juliet\u003c/em> are seared into the culture. He was just 22 when he made \u003cem>Titanic\u003c/em>. Because of this, even as he ages — dad bod and all — we still see a very young man when we look at him. If he looked more like Pedro Pascal or David Harbour, or if he’d only become famous in his thirties, we’d have noticed the depth of his dating life’s ick factor way sooner.\u003c/p>\n\u003cp>It’s also worth remembering that DiCaprio’s penchant for chasing young models wasn’t immediately obvious. In his younger years, he had two longterm relationships. The first was with Gisele Bundchen (six years his junior) for five years, and Bar Refaeli (10 years his junior) for five and a half. Perfectly normal dating behavior for a man in his twenties and thirties. Was it weird that the two women so closely resembled each other? A little. But it’s significantly stranger now that \u003cem>all\u003c/em> of the women who have followed Bunchen and Refaeli have also looked like Bundchen and Refaeli. (Morrone was a brunette — that’s the closest DiCaprio has come to broadening his field of vision.)\u003c/p>\n\u003cfigure id=\"attachment_13924888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg\" alt=\"A photo of a white, fair-haired man in a suit embracing a tall slender woman with long blond hair, next to a photo of a different tall slender woman with long blond hair.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1920x1782.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) DiCaprio with Gisele Bundchen in 2005, (R) Bar Refaeli in 2007. \u003ccite>((L) Jeffrey Mayer/WireImage (R) FRANCOIS GUILLOT/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his well-known status as a serial dater, DiCaprio has never been portrayed as unlucky in love. This is, of course, because he’s a man — no famous man, regardless of individual circumstances, is ever presented that way. But in DiCaprio’s case, there is also an assumption that he’s not really taking any of these women seriously in the first place. Collectively, we have accepted that this man is going to discard the young women he surrounds himself with, then quickly replace them.\u003c/p>\n\u003cp>It’s about time we start examining how much we want to continue to turn a blind eye, laugh at the jokes and move on. Because when we as a nation regularly laugh at women being treated as disposable objects, we’re normalizing it. And that keeps archetypes about rich men as playboys and beautiful women as playthings in the culture. Do we really want those grossly outdated constructs still hanging around in 2023?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to DiCaprio, just because a behavior is technically legal doesn’t mean that something very disturbing isn’t going on in full view of the world. As \u003ca href=\"https://twitter.com/aaronhoyland/status/1622986572303044608\">one shrewd Twitter user noted this week\u003c/a>: “I really don’t think the threshold for acceptable behavior towards women should be, ‘But is it criminal?’”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘One Fine Morning,’ Léa Seydoux Reclaims Her Identity Amid Struggles of Love and Family",
"headTitle": "In ‘One Fine Morning,’ Léa Seydoux Reclaims Her Identity Amid Struggles of Love and Family | KQED",
"content": "\u003cp>The Parisian dream of romance is subjected to a hard dose of social realism in Mia Hansen-Løve’s newest film, \u003ci>One Fine Morning\u003c/i>. Starring Léa Seydoux as Sandra, we first meet the film’s protagonist en route to her father’s apartment. With a backpack firmly strapped in place over her shoulders, she strides forward with the determined gait of a foot soldier. Her father Georg (Pascal Greggory), a retired philosophy professor whose eyesight and memory are failing, needs to be coached through the process of opening his own door. Sandra realizes he’ll no longer be able to continue living on his own.\u003c/p>\n\u003cp>Along with caring for her father, Sandra’s responsibilities include a full-time job as a translator, as well as raising a young daughter by herself. Widowed for five years, she travels from one arrondissement to the next, into classrooms and international political and business meetings. And while Georg can’t recall any details about Sandra’s life, she remains steadfast in her devotion to him.\u003c/p>\n\u003cfigure id=\"attachment_13924622\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6-scaled.jpg\" alt=\"A white woman leans over an older white man.\" width=\"2560\" height=\"1381\" class=\"size-full wp-image-13924622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1020x550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-2048x1105.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1920x1036.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Pascal Greggory as Georg in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her mother Françoise (Nicole Garcia), long-divorced from Georg, is Sandra’s primary source of semi-dependable support. Remarried and busily pursuing a later-in-life career as a climate change activist and protestor, Françoise still feels obligated to help Sandra settle her father into a decent nursing home.\u003c/p>\n\u003cp>For the first part of the film, \u003ci>One Fine Morning\u003c/i> echoes the commentary made in Jean-Pierre and Luc Dardenne’s movies such as \u003ci>Two Days, One Night\u003c/i>. Like the Dardenne brothers, Hansen-Løve appears to be assessing and condemning a systemic societal problem — in this case health care — with Sandra as her warm-blooded avatar. The first two care facilities considered for Georg are dismal. Geriatric or end-of-life care is an unavoidable, depressing reality, but decent places seem to be financially out of reach for both him and his extended family.\u003c/p>\n\u003cp>\u003ci>One Fine Morning\u003c/i> shifts when Sandra runs into Clément (Melvil Poupaud), a friend of her late husband’s, on one of her days crisscrossing Paris. She has been keeping her emotions contained as a way of coping with the demands of her family and career, but spending time with Clément ignites dormant desires for affection and intimacy. Of course, Hansen-Løve doesn’t make the love affair easy: Clément lives with his wife and son.\u003c/p>\n\u003cfigure id=\"attachment_13924624\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/4-scaled.jpg\" alt=\"A white woman stands with arms wrapped around neck of white man\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13924624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1920x1038.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Melvil Poupaud as Clément in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The tensions in \u003ci>One Fine Morning\u003c/i> alternate between the drama of Sandra’s affair and the practical realities of making a living and caring for a family. Paris is a romantic backdrop for Clément and Sandra as they stroll through parks and cozy up in stylish cafés. Hansen-Løve shows us Paris from their viewpoint, through the eyes of locals. In these moments, the pressures and stresses of everyday life momentarily disappear, as Parisians take advantage of the cosmopolitan city they inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seydoux’s restrained performance is mostly mournful. In Bruno Dumont’s 2021 film \u003ci>France\u003c/i>, the actress’s lips were painted dark, molten colors in order to emphasize her masterful pout. In \u003ci>One Fine Morning\u003c/i>, Hansen-Løve focuses on her eyes, which are either on the verge of or actively spilling out enormous tears. Seydoux’s emotion, however, isn’t overwrought. Mother-daughter scenes contain ordinary, passing arguments. Françoise may be temperamental but she isn’t cold. And Sandra’s daughter isn’t precocious or prone to temper tantrums. It’s a relief to watch a movie in which family dynamics \u003ci>can\u003c/i> be dysfunctional, but the members take these moments in stride rather than turning temporary friction into melodrama.\u003c/p>\n\u003cfigure id=\"attachment_13924623\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/7-scaled.jpg\" alt=\"Older white woman leans against institutional wall with younger white woman in doorway\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13924623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Nicole Garcia as Françoise in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 40 years since Pascal Greggory appeared in Éric Rohmer’s \u003ci>Pauline at the Beach\u003c/i>. As Georg, his sandy blonde hair has turned white and his character’s convictions have vanished into the haze of dementia. This loss of self catalyzes Sandra’s reclamation of her own identity, and when Georg’s housing dilemma comes to a conclusion, Sandra’s life moves forward.\u003c/p>\n\u003cp>Each scene in \u003ci>One Fine Morning\u003c/i> is an interlude featuring romance, work, friendship or family. Each tests Sandra’s character. Hansen-Løve invents these conflicts to encourage Sandra to move out of paralyzing grief, to endure, and sometimes enjoy, the various episodes that add up to the composition of her particular life. When she climbs the steps at the Sacré-Cœur in Montmartre, the entire city is spread out before her, a simple yet significant awakening. She stops looking at the ground and starts to look up, taking in the entire Parisian cityscape and the bluest sky above it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Fine Morning’ opens in Bay Area theaters on Friday, Feb. 3.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Parisian dream of romance is subjected to a hard dose of social realism in Mia Hansen-Løve’s newest film, \u003ci>One Fine Morning\u003c/i>. Starring Léa Seydoux as Sandra, we first meet the film’s protagonist en route to her father’s apartment. With a backpack firmly strapped in place over her shoulders, she strides forward with the determined gait of a foot soldier. Her father Georg (Pascal Greggory), a retired philosophy professor whose eyesight and memory are failing, needs to be coached through the process of opening his own door. Sandra realizes he’ll no longer be able to continue living on his own.\u003c/p>\n\u003cp>Along with caring for her father, Sandra’s responsibilities include a full-time job as a translator, as well as raising a young daughter by herself. Widowed for five years, she travels from one arrondissement to the next, into classrooms and international political and business meetings. And while Georg can’t recall any details about Sandra’s life, she remains steadfast in her devotion to him.\u003c/p>\n\u003cfigure id=\"attachment_13924622\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6-scaled.jpg\" alt=\"A white woman leans over an older white man.\" width=\"2560\" height=\"1381\" class=\"size-full wp-image-13924622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1020x550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-2048x1105.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1920x1036.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Pascal Greggory as Georg in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her mother Françoise (Nicole Garcia), long-divorced from Georg, is Sandra’s primary source of semi-dependable support. Remarried and busily pursuing a later-in-life career as a climate change activist and protestor, Françoise still feels obligated to help Sandra settle her father into a decent nursing home.\u003c/p>\n\u003cp>For the first part of the film, \u003ci>One Fine Morning\u003c/i> echoes the commentary made in Jean-Pierre and Luc Dardenne’s movies such as \u003ci>Two Days, One Night\u003c/i>. Like the Dardenne brothers, Hansen-Løve appears to be assessing and condemning a systemic societal problem — in this case health care — with Sandra as her warm-blooded avatar. The first two care facilities considered for Georg are dismal. Geriatric or end-of-life care is an unavoidable, depressing reality, but decent places seem to be financially out of reach for both him and his extended family.\u003c/p>\n\u003cp>\u003ci>One Fine Morning\u003c/i> shifts when Sandra runs into Clément (Melvil Poupaud), a friend of her late husband’s, on one of her days crisscrossing Paris. She has been keeping her emotions contained as a way of coping with the demands of her family and career, but spending time with Clément ignites dormant desires for affection and intimacy. Of course, Hansen-Løve doesn’t make the love affair easy: Clément lives with his wife and son.\u003c/p>\n\u003cfigure id=\"attachment_13924624\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/4-scaled.jpg\" alt=\"A white woman stands with arms wrapped around neck of white man\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13924624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1920x1038.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Melvil Poupaud as Clément in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The tensions in \u003ci>One Fine Morning\u003c/i> alternate between the drama of Sandra’s affair and the practical realities of making a living and caring for a family. Paris is a romantic backdrop for Clément and Sandra as they stroll through parks and cozy up in stylish cafés. Hansen-Løve shows us Paris from their viewpoint, through the eyes of locals. In these moments, the pressures and stresses of everyday life momentarily disappear, as Parisians take advantage of the cosmopolitan city they inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seydoux’s restrained performance is mostly mournful. In Bruno Dumont’s 2021 film \u003ci>France\u003c/i>, the actress’s lips were painted dark, molten colors in order to emphasize her masterful pout. In \u003ci>One Fine Morning\u003c/i>, Hansen-Løve focuses on her eyes, which are either on the verge of or actively spilling out enormous tears. Seydoux’s emotion, however, isn’t overwrought. Mother-daughter scenes contain ordinary, passing arguments. Françoise may be temperamental but she isn’t cold. And Sandra’s daughter isn’t precocious or prone to temper tantrums. It’s a relief to watch a movie in which family dynamics \u003ci>can\u003c/i> be dysfunctional, but the members take these moments in stride rather than turning temporary friction into melodrama.\u003c/p>\n\u003cfigure id=\"attachment_13924623\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/7-scaled.jpg\" alt=\"Older white woman leans against institutional wall with younger white woman in doorway\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13924623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Nicole Garcia as Françoise in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 40 years since Pascal Greggory appeared in Éric Rohmer’s \u003ci>Pauline at the Beach\u003c/i>. As Georg, his sandy blonde hair has turned white and his character’s convictions have vanished into the haze of dementia. This loss of self catalyzes Sandra’s reclamation of her own identity, and when Georg’s housing dilemma comes to a conclusion, Sandra’s life moves forward.\u003c/p>\n\u003cp>Each scene in \u003ci>One Fine Morning\u003c/i> is an interlude featuring romance, work, friendship or family. Each tests Sandra’s character. Hansen-Løve invents these conflicts to encourage Sandra to move out of paralyzing grief, to endure, and sometimes enjoy, the various episodes that add up to the composition of her particular life. When she climbs the steps at the Sacré-Cœur in Montmartre, the entire city is spread out before her, a simple yet significant awakening. She stops looking at the ground and starts to look up, taking in the entire Parisian cityscape and the bluest sky above it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Fine Morning’ opens in Bay Area theaters on Friday, Feb. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Short Documentary ‘Holding Moses’ Opens a Door to Conversations About Disability",
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"content": "\u003cp>A few days after COVID-19 forced everyone into lockdown in March 2020, Rivkah Beth Medow sat down with Randi Rader, turned on an audio recorder and queried her for three hours.\u003c/p>\n\u003cp>Medow was grappling with grief, unrelated to the pandemic, and sought a voice of experience and wisdom, and a path through her distress. She was familiar up to a point with her girlfriend’s rough experience as a mother of a child born with a serious genetic disorder. Now Medow wanted to hear every harrowing detail of Randi’s rollercoaster emotional journey.\u003c/p>\n\u003cp>“I didn’t know what it was going to be at the time,” Medow recalls, “but I got it transcribed and then I put together a radio cut of it.” Although the East Bay filmmaker had initiated the interview and the recording for her personal use, she was too moved to keep to herself. So she sent it to her creative partner, Jen Rainin, with a note.\u003c/p>\n\u003cp>“Hey, think there’s a film here?” she wrote. “What is this? This is \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Medow’s instinct proved accurate. The duo premiered \u003cem>Holding Moses\u003c/em> last spring at SFFILM, followed by Frameline and the San Francisco Jewish Film Festival, garnering awards at all three local fests. The 17-minute film — which Rainin describes as an “experiential narrative” — debuted on \u003ca href=\"https://www.newyorker.com/video/watch/the-new-yorker-shorts-holding-moses\">\u003cem>The New Yorker\u003c/em> website\u003c/a> (where you can watch it for free) in November, and a month later was shortlisted for the Academy Award for Documentary Short. (It didn’t receive an Oscar nomination, alas, nor did another shortlisted East Bay short film, \u003cem>American Justice on Trial: People v. Newton\u003c/em>. San Francisco filmmaker Jay Rosenblatt did receive a nomination for Short Documentary — his second in two years in that category — for \u003cem>How Do You Measure a Year?\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13924600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web.jpg\" alt=\"Young boy with dark brown hair smiles and touches face of woman with buzzed hair in golden landscape\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Moses and Randi Rader in a still from ‘Holding Moses.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Holding Moses\u003c/em> is a deeply touching glimpse of a mother-son relationship that is both recognizable and atypical, for young Moses has the extremely rare Phelan-McDermid Syndrome. We are granted intimate access to their bond, and even more so to Randi’s pain, despair and acceptance of her disabled child. The piece is anchored by Randi’s voice-over, 90% of which comes from her original conversation with Medow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘Is this going to be the day you open your eyes?’ And he just lied there. He was so still, and he was so beautiful,” Randi recounts in the film. “I had no idea what I was in for.”\u003c/p>\n\u003cp>She goes on to acknowledge, “It was shocking, because in the throes of being given the greatest gift of life, which is like, birthing a child from your body, but instead I was given the hardest thing that I’d ever even given.”\u003c/p>\n\u003cp>\u003cem>Holding Moses\u003c/em> uses the body as a recurring theme via various forms of movement, notably archival footage of Randi’s stint as a dancer with \u003cem>Stomp\u003c/em> and her studies in Japan with a Butoh master. Moses’ tactile, tentative crawl on a trampoline serves as both an echo and a counterpoint.\u003c/p>\n\u003cp>The other recurring visual motif is the sun-kissed Northern California landscape, whether traversed alone by Randi on a bicycle or on walks through woods with her daughters and Moses.\u003c/p>\n\u003cfigure id=\"attachment_13924599\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web.jpg\" alt=\"A white person's hand with fingerless gloves grabs at dry grasses\" width=\"1920\" height=\"1007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-1536x806.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Holding Moses.’ \u003ccite>(Clare Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pandemic precluded filming with other people, but the result is to position the family as a self-contained, self-reliant, self-supporting unit. The effect is a kind of optimism without a saccharine Hallmark aftertaste.\u003c/p>\n\u003cp>“There’s a tone of hope and belief that Randi will come through this,” Medow says. “We wanted to make this film as beautiful as possible, as we believe in beauty as a way to crack open people to receive information that they might not necessarily accept or be interested in if it weren’t so visually appealing. It’s a strategy.”\u003c/p>\n\u003cp>That approach makes sense for reaching a broad audience, even with a short film. A certain subcategory of parents, however, responded simply to the existence and depiction of Randi’s family.\u003c/p>\n\u003cp>[aside postID='arts_13908383,arts_13905452']“We had a number of people reach out through social media and say things like, ‘I have a disabled child and I watched this with my typical children and it cracked us all open,’” Rainin recounts. “One person said, ‘This was a door to have honest conversations with my other kids about the effect that their brother has had on us, both challenging and positive.’”\u003c/p>\n\u003cp>“Randi talks very openly about her journey of ableism,” Medow says. “When Moses was born, she thought there was one kind of disabled child. Showing someone who talks in a raw and vulnerable way about that experience has been remarkably validating. We understand there’s a complicated legacy around valuing disabled bodies and this film is interested in joining conversations about how we resource parents better so that maybe it doesn’t feel so difficult when a child is born with impairments, with disabilities. So we do community screenings and work with disability groups, rare disease groups and queer family groups so we can have those conversations.”\u003c/p>\n\u003cp>\u003cem>Holding Moses\u003c/em> broaches a subject that’s rarely discussed in private, let alone acknowledged in public: A parent’s process of grieving for the life they had imagined for their child and that will never be.\u003c/p>\n\u003cp>For Randi, there’s the specific intervening event. But Medow identifies a universal aspect of having children: “Most parents I know work to understand the kid we have, and let go of the kid we imagine having.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Holding Moses’ is now steaming on \u003ca href=\"https://www.newyorker.com/video/watch/the-new-yorker-shorts-holding-moses\">The New Yorker website\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few days after COVID-19 forced everyone into lockdown in March 2020, Rivkah Beth Medow sat down with Randi Rader, turned on an audio recorder and queried her for three hours.\u003c/p>\n\u003cp>Medow was grappling with grief, unrelated to the pandemic, and sought a voice of experience and wisdom, and a path through her distress. She was familiar up to a point with her girlfriend’s rough experience as a mother of a child born with a serious genetic disorder. Now Medow wanted to hear every harrowing detail of Randi’s rollercoaster emotional journey.\u003c/p>\n\u003cp>“I didn’t know what it was going to be at the time,” Medow recalls, “but I got it transcribed and then I put together a radio cut of it.” Although the East Bay filmmaker had initiated the interview and the recording for her personal use, she was too moved to keep to herself. So she sent it to her creative partner, Jen Rainin, with a note.\u003c/p>\n\u003cp>“Hey, think there’s a film here?” she wrote. “What is this? This is \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Medow’s instinct proved accurate. The duo premiered \u003cem>Holding Moses\u003c/em> last spring at SFFILM, followed by Frameline and the San Francisco Jewish Film Festival, garnering awards at all three local fests. The 17-minute film — which Rainin describes as an “experiential narrative” — debuted on \u003ca href=\"https://www.newyorker.com/video/watch/the-new-yorker-shorts-holding-moses\">\u003cem>The New Yorker\u003c/em> website\u003c/a> (where you can watch it for free) in November, and a month later was shortlisted for the Academy Award for Documentary Short. (It didn’t receive an Oscar nomination, alas, nor did another shortlisted East Bay short film, \u003cem>American Justice on Trial: People v. Newton\u003c/em>. San Francisco filmmaker Jay Rosenblatt did receive a nomination for Short Documentary — his second in two years in that category — for \u003cem>How Do You Measure a Year?\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13924600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web.jpg\" alt=\"Young boy with dark brown hair smiles and touches face of woman with buzzed hair in golden landscape\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HoldingMoses-SFJFF42-02-web-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Moses and Randi Rader in a still from ‘Holding Moses.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Holding Moses\u003c/em> is a deeply touching glimpse of a mother-son relationship that is both recognizable and atypical, for young Moses has the extremely rare Phelan-McDermid Syndrome. We are granted intimate access to their bond, and even more so to Randi’s pain, despair and acceptance of her disabled child. The piece is anchored by Randi’s voice-over, 90% of which comes from her original conversation with Medow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘Is this going to be the day you open your eyes?’ And he just lied there. He was so still, and he was so beautiful,” Randi recounts in the film. “I had no idea what I was in for.”\u003c/p>\n\u003cp>She goes on to acknowledge, “It was shocking, because in the throes of being given the greatest gift of life, which is like, birthing a child from your body, but instead I was given the hardest thing that I’d ever even given.”\u003c/p>\n\u003cp>\u003cem>Holding Moses\u003c/em> uses the body as a recurring theme via various forms of movement, notably archival footage of Randi’s stint as a dancer with \u003cem>Stomp\u003c/em> and her studies in Japan with a Butoh master. Moses’ tactile, tentative crawl on a trampoline serves as both an echo and a counterpoint.\u003c/p>\n\u003cp>The other recurring visual motif is the sun-kissed Northern California landscape, whether traversed alone by Randi on a bicycle or on walks through woods with her daughters and Moses.\u003c/p>\n\u003cfigure id=\"attachment_13924599\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web.jpg\" alt=\"A white person's hand with fingerless gloves grabs at dry grasses\" width=\"1920\" height=\"1007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/RandiRader_HoldingMoses_hand_creditClareMajor_web-1536x806.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Holding Moses.’ \u003ccite>(Clare Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pandemic precluded filming with other people, but the result is to position the family as a self-contained, self-reliant, self-supporting unit. The effect is a kind of optimism without a saccharine Hallmark aftertaste.\u003c/p>\n\u003cp>“There’s a tone of hope and belief that Randi will come through this,” Medow says. “We wanted to make this film as beautiful as possible, as we believe in beauty as a way to crack open people to receive information that they might not necessarily accept or be interested in if it weren’t so visually appealing. It’s a strategy.”\u003c/p>\n\u003cp>That approach makes sense for reaching a broad audience, even with a short film. A certain subcategory of parents, however, responded simply to the existence and depiction of Randi’s family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We had a number of people reach out through social media and say things like, ‘I have a disabled child and I watched this with my typical children and it cracked us all open,’” Rainin recounts. “One person said, ‘This was a door to have honest conversations with my other kids about the effect that their brother has had on us, both challenging and positive.’”\u003c/p>\n\u003cp>“Randi talks very openly about her journey of ableism,” Medow says. “When Moses was born, she thought there was one kind of disabled child. Showing someone who talks in a raw and vulnerable way about that experience has been remarkably validating. We understand there’s a complicated legacy around valuing disabled bodies and this film is interested in joining conversations about how we resource parents better so that maybe it doesn’t feel so difficult when a child is born with impairments, with disabilities. So we do community screenings and work with disability groups, rare disease groups and queer family groups so we can have those conversations.”\u003c/p>\n\u003cp>\u003cem>Holding Moses\u003c/em> broaches a subject that’s rarely discussed in private, let alone acknowledged in public: A parent’s process of grieving for the life they had imagined for their child and that will never be.\u003c/p>\n\u003cp>For Randi, there’s the specific intervening event. But Medow identifies a universal aspect of having children: “Most parents I know work to understand the kid we have, and let go of the kid we imagine having.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Holding Moses’ is now steaming on \u003ca href=\"https://www.newyorker.com/video/watch/the-new-yorker-shorts-holding-moses\">The New Yorker website\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-area-was-hip-hop-before-there-was-hip-hop",
"title": "The Bay Area Was Hip-Hop Before There Was Hip-Hop",
"publishDate": 1675282142,
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"headTitle": "The Bay Area Was Hip-Hop Before There Was Hip-Hop | KQED",
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"content": "\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” [aside postid='arts_13923938']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\u003c/p>\n\u003cp>https://youtu.be/HJ96GPtnH70\u003c/p>\n\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” [pullquote size='large']No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.[/pullquote]\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\u003c/p>\n\u003cp>https://youtu.be/IUdS6kxw2aI\u003c/p>\n\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. [aside postid='arts_13923766']\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\u003c/p>\n\u003cp>https://youtu.be/qnVtwzaw6lM\u003c/p>\n\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. [aside postid='arts_13906176']\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "In the ’60s and ’70s, the Black Panthers, boogaloo dancers and Sly Stone anticipated the arrival of hip-hop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\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, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\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/HJ96GPtnH70'\n title='//www.youtube.com/embed/HJ96GPtnH70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\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/IUdS6kxw2aI'\n title='//www.youtube.com/embed/IUdS6kxw2aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\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/qnVtwzaw6lM'\n title='//www.youtube.com/embed/qnVtwzaw6lM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore \u003cem>8 Mile\u003c/em>, before Scribble Jam and WorldStar, and before MTV and BET developed freestyle shows, there was the Hiero-Hobo battle.\u003c/p>\n\u003cp>Pitting Saafir and his Hobo Junction crew against Casual and his Hieroglyphics crew, the 1994 rap battle held in KMEL’s San Francisco studios, broadcast live on the air, lasted more than 40 minutes. But its aftereffects lasted for decades.\u003c/p>\n\u003cp>“It was like an out-of-body experience, just watching it,” said KMEL host Sway. “It was the most amazing, beautiful conflict you could ever witness.”\u003c/p>\n\u003cp>Above, watch Shomari Smith’s 2021 short documentary \u003cem>The Battle\u003c/em>, which includes rare footage of the battle itself, and read below for some of the director’s reflections on this landmark meeting of Bay Area greats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"\" width=\"400\" height=\"48\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>GABE MELINE: In the realm of Bay Area hip-hop history, in your own words, how important was this battle?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SHOMARI SMITH\u003c/strong>: This battle was one of \u003cem>the\u003c/em> most important, for sure, for West Coast MCs, especially during that time. There was a different style from New York that kind of spawned out of the West Coast, and it was great to see West Coast MCs just battling it out live on the radio. You don’t see that very often — I can’t think of another live battle that happened on the air, at all. It’s usually at a show, or on record. So yeah, it was unique, and very, very important.\u003c/p>\n\u003cp>[aside postid='arts_13923938']\u003cstrong>Freestyle battles weren’t as big a thing in the Bay as they were in New York, or Philly, or Cincinnati. Why do you think that is? \u003c/strong>\u003c/p>\n\u003cp>It’s interesting, because there \u003cem>was\u003c/em> a culture for it here. It was just smaller. You had to seek it out. A lot of it happened on street corners; you wouldn’t find it formally happening. And I believe it just had a lot to do with what was popularized here — Too Short, sort of spawning the culture, he had a totally different style. It wasn’t a battle-rap style. There was this subculture of MCs who liked to battle and meet up, but it was just a smaller community on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_13924171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg\" alt=\"A man in a beanie and headphones raps assertively into a microphone in a radio station studio\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saafir takes aim at Casual during the Hieroglyphics / Hobo Junction rap battle at KMEL Studios, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel / Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What ripple effects would you say the Hiero-Hobo battle had, for its participants but also in the culture at large?\u003c/strong>\u003c/p>\n\u003cp>The battle really spawned out of a personal dispute. And I think the biggest thing is that no one was physically hurt. So many times, you’ll see two rappers have a problem with each other, and then there’s a fight. Neither of these two guys ever got hurt over this battle, and there was a resolve on the mic.\u003c/p>\n\u003cp>But then also, as the tapes traveled, and now with \u003cem>The Battle\u003c/em> being available online, you hear this energy and spontaneity. It spread this understanding that, yes, there are rappers’ rappers here in the Bay Area that very early on were following in the tradition of some of the original elements of hip-hop. It really brought attention to the Bay Area in a way that we hadn’t seen before.\u003c/p>\n\u003cp>[aside postID='arts_13918720']\u003cstrong>When you first set out to do this documentary… were you worried at all about reigniting old disputes?\u003c/strong>\u003c/p>\n\u003cp>No. Making the \u003ca href=\"https://youtu.be/QVKJWlxpPy4\">Souls of Mischief documentary\u003c/a>, because they were a part of the battle, it was something that came up over and over again. At a certain point, I started making the battle a part of my line of questioning. And the last piece of it came when I ran into Saafir in Los Angeles, and I hadn’t seen him in a very, very long time, and he said so many nice things about the Souls. Right then and there, I knew this was something I could do.\u003c/p>\n\u003cp>Twenty years had passed. They had moved on. It seemed like they looked back on it finally like, “Oh, we were young guys, and I can’t believe we did that.” It was that energy.\u003c/p>\n\u003cp>\u003cstrong>One thing that really comes across is that, despite the passage of time, everybody remembers the events in that cramped studio really, really vividly.\u003c/strong>\u003c/p>\n\u003cp>It’s really incredible! Even 20 years later, the way they tell the story, like with the energy around it. A friend of mine, Alex Asher Daniel, who’s close with Hiero, also was in the room that night, and he brought a video camera to the battle. And Alex has had the tape this entire time, been watching it since the ’90s, but there’s no other tape that’s ever really surfaced of it. Everyone else who videotaped that night, I’m not sure what they did with their footage, or if it got lost, or it’s so far removed now, but nothing else has ever really surfaced.\u003c/p>\n\u003cp>I think the greatest element of the film is to actually see the footage of these guys in the studio facing off. It’s a special moment in hip-hop, and I think it deserved to be documented. We have to tell our own stories in our own way, and that’s why the way it’s told, the way I formed it, was very intentional. I didn’t have an angle in it, which was something Saafir really thanked me for, because he knows that I’m close with Hiero.\u003c/p>\n\u003cfigure id=\"attachment_13924404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg\" alt=\"A man in a colorful jacket, rapping into a microphone, surrounded by supporters\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casual battles it out against Saafir at KMEL studios in San Francisco, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel/Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So here’s the million-dollar question: Who do \u003cem>you\u003c/em> think won the battle?\u003c/strong>\u003c/p>\n\u003cp>Well, this is where my allegiance comes in. It’s Hiero, for sure. My whole thing was, if you’re only saying what is coming from your head at that moment, I think that’s pretty remarkable. Casual did not prepare at all, and that’s pretty incredible, to go live on the air with no rhymes written. I don’t know if there’s an MC that does that anymore. So yeah, my allegiance will always be with the Hiero crew, for sure. [aside postid='arts_13924167']\u003c/p>\n\u003cp>\u003cstrong>Is there anything else you want to add about the battle?\u003c/strong>\u003c/p>\n\u003cp>Like I was saying before, things spawned from the battle. Crews got involved. But no one died. This was a hip-hop conflict that was resolved in the right way, in the spirit of the culture. I really like to emphasize that because it seems like, more and more, people have trouble solving problems that don’t end up fatal. These guys have been able to go on and live their life, and finally talk about it later.\u003c/p>\n\u003cp>At the 20th anniversary of \u003cem>Fear Itself\u003c/em>, Casual had a show, and Saafir came. Casual brought him on stage. I was there for that moment, I put that in the film, and I think that’s the very essence of it. It’s like, “We were young, and we had some fun, and here we are now, 20 years later.” It’s pretty amazing for that to be the case, because so often it just isn’t.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore \u003cem>8 Mile\u003c/em>, before Scribble Jam and WorldStar, and before MTV and BET developed freestyle shows, there was the Hiero-Hobo battle.\u003c/p>\n\u003cp>Pitting Saafir and his Hobo Junction crew against Casual and his Hieroglyphics crew, the 1994 rap battle held in KMEL’s San Francisco studios, broadcast live on the air, lasted more than 40 minutes. But its aftereffects lasted for decades.\u003c/p>\n\u003cp>“It was like an out-of-body experience, just watching it,” said KMEL host Sway. “It was the most amazing, beautiful conflict you could ever witness.”\u003c/p>\n\u003cp>Above, watch Shomari Smith’s 2021 short documentary \u003cem>The Battle\u003c/em>, which includes rare footage of the battle itself, and read below for some of the director’s reflections on this landmark meeting of Bay Area greats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"\" width=\"400\" height=\"48\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>GABE MELINE: In the realm of Bay Area hip-hop history, in your own words, how important was this battle?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SHOMARI SMITH\u003c/strong>: This battle was one of \u003cem>the\u003c/em> most important, for sure, for West Coast MCs, especially during that time. There was a different style from New York that kind of spawned out of the West Coast, and it was great to see West Coast MCs just battling it out live on the radio. You don’t see that very often — I can’t think of another live battle that happened on the air, at all. It’s usually at a show, or on record. So yeah, it was unique, and very, very important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Freestyle battles weren’t as big a thing in the Bay as they were in New York, or Philly, or Cincinnati. Why do you think that is? \u003c/strong>\u003c/p>\n\u003cp>It’s interesting, because there \u003cem>was\u003c/em> a culture for it here. It was just smaller. You had to seek it out. A lot of it happened on street corners; you wouldn’t find it formally happening. And I believe it just had a lot to do with what was popularized here — Too Short, sort of spawning the culture, he had a totally different style. It wasn’t a battle-rap style. There was this subculture of MCs who liked to battle and meet up, but it was just a smaller community on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_13924171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg\" alt=\"A man in a beanie and headphones raps assertively into a microphone in a radio station studio\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saafir takes aim at Casual during the Hieroglyphics / Hobo Junction rap battle at KMEL Studios, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel / Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What ripple effects would you say the Hiero-Hobo battle had, for its participants but also in the culture at large?\u003c/strong>\u003c/p>\n\u003cp>The battle really spawned out of a personal dispute. And I think the biggest thing is that no one was physically hurt. So many times, you’ll see two rappers have a problem with each other, and then there’s a fight. Neither of these two guys ever got hurt over this battle, and there was a resolve on the mic.\u003c/p>\n\u003cp>But then also, as the tapes traveled, and now with \u003cem>The Battle\u003c/em> being available online, you hear this energy and spontaneity. It spread this understanding that, yes, there are rappers’ rappers here in the Bay Area that very early on were following in the tradition of some of the original elements of hip-hop. It really brought attention to the Bay Area in a way that we hadn’t seen before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>When you first set out to do this documentary… were you worried at all about reigniting old disputes?\u003c/strong>\u003c/p>\n\u003cp>No. Making the \u003ca href=\"https://youtu.be/QVKJWlxpPy4\">Souls of Mischief documentary\u003c/a>, because they were a part of the battle, it was something that came up over and over again. At a certain point, I started making the battle a part of my line of questioning. And the last piece of it came when I ran into Saafir in Los Angeles, and I hadn’t seen him in a very, very long time, and he said so many nice things about the Souls. Right then and there, I knew this was something I could do.\u003c/p>\n\u003cp>Twenty years had passed. They had moved on. It seemed like they looked back on it finally like, “Oh, we were young guys, and I can’t believe we did that.” It was that energy.\u003c/p>\n\u003cp>\u003cstrong>One thing that really comes across is that, despite the passage of time, everybody remembers the events in that cramped studio really, really vividly.\u003c/strong>\u003c/p>\n\u003cp>It’s really incredible! Even 20 years later, the way they tell the story, like with the energy around it. A friend of mine, Alex Asher Daniel, who’s close with Hiero, also was in the room that night, and he brought a video camera to the battle. And Alex has had the tape this entire time, been watching it since the ’90s, but there’s no other tape that’s ever really surfaced of it. Everyone else who videotaped that night, I’m not sure what they did with their footage, or if it got lost, or it’s so far removed now, but nothing else has ever really surfaced.\u003c/p>\n\u003cp>I think the greatest element of the film is to actually see the footage of these guys in the studio facing off. It’s a special moment in hip-hop, and I think it deserved to be documented. We have to tell our own stories in our own way, and that’s why the way it’s told, the way I formed it, was very intentional. I didn’t have an angle in it, which was something Saafir really thanked me for, because he knows that I’m close with Hiero.\u003c/p>\n\u003cfigure id=\"attachment_13924404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg\" alt=\"A man in a colorful jacket, rapping into a microphone, surrounded by supporters\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casual battles it out against Saafir at KMEL studios in San Francisco, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel/Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So here’s the million-dollar question: Who do \u003cem>you\u003c/em> think won the battle?\u003c/strong>\u003c/p>\n\u003cp>Well, this is where my allegiance comes in. It’s Hiero, for sure. My whole thing was, if you’re only saying what is coming from your head at that moment, I think that’s pretty remarkable. Casual did not prepare at all, and that’s pretty incredible, to go live on the air with no rhymes written. I don’t know if there’s an MC that does that anymore. So yeah, my allegiance will always be with the Hiero crew, for sure. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is there anything else you want to add about the battle?\u003c/strong>\u003c/p>\n\u003cp>Like I was saying before, things spawned from the battle. Crews got involved. But no one died. This was a hip-hop conflict that was resolved in the right way, in the spirit of the culture. I really like to emphasize that because it seems like, more and more, people have trouble solving problems that don’t end up fatal. These guys have been able to go on and live their life, and finally talk about it later.\u003c/p>\n\u003cp>At the 20th anniversary of \u003cem>Fear Itself\u003c/em>, Casual had a show, and Saafir came. Casual brought him on stage. I was there for that moment, I put that in the film, and I think that’s the very essence of it. It’s like, “We were young, and we had some fun, and here we are now, 20 years later.” It’s pretty amazing for that to be the case, because so often it just isn’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Knock at the Cabin’ Is a Morality Escape Room With No Emergency Exits",
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"content": "\u003cp>If you’ve ever wanted to find out how much of a nihilist one of your loved ones is, go see \u003ca href=\"https://www.imdb.com/title/tt15679400/?ref_=nv_sr_srsg_0\">\u003cem>Knock at the Cabin\u003c/em>\u003c/a> with them and have a little chat about it afterwards. The movie is steeped in complex moral philosophy principles. However your loved one feels about the last 10 minutes of the movie will tell you everything you need to know.\u003c/p>\n\u003cp>[aside postid='arts_13923793']I’m going to try and get through this review with virtually no spoilers (it’s really a much better movie if you go into it knowing as little as possible), so I’ll just tell you the most basic premise. Adorable family — dads Andrew and Eric (Ben Aldridge and Jonathan Groff) and their daughter Wen (Kristen Cui) — go on vacation at a cabin on a lake in the Pennsylvania countryside. One day, four strangers, led by the physically imposing Leonard (David Bautista dressed like a Mormon missionary), arrive and announce that humanity’s fate lies in the family’s hands.\u003c/p>\n\u003cp>If Andrew, Eric or Wen does not die by a method delivered by one of their own family members in the next 24 hours (no suicides allowed), everyone on Earth will die and the trio will be cursed to wander the desolate planet alone. Unsurprisingly, the family is not overjoyed at the prospect of being forced to murder one of the people they love the most, and fullblown fights and complicated conversations ensue. The questions are fairly obvious: Who is the sinister foursome? Why should the family believe them? And is there anything in the doom quartet’s stories that doesn’t quite add up?\u003c/p>\n\u003cp>Much of the movie is spent answering all of those questions, but there is never a dull moment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0wiBHEACNHs&t=34s\u003c/p>\n\u003cp>Now, if you’re thinking this slightly preposterous premise sounds like a fairly thin plotline to spend an entire movie on, I’m right there with you. (“Could’ve been a \u003cem>Twilight Zone\u003c/em> episode” was one of my initial thoughts when first hearing about the film.)\u003c/p>\n\u003cp>But don’t let the apparent flimsiness fool you. \u003cem>Knock at the Cabin \u003c/em>is gripping throughout its 100 minutes, and there is of course more to it than I’m telling you. There are some brutal plot turns, and it helps that, for the most part, the family’s reactions to this dire situation are realistic. (Save for one unfortunate scene involving the dads, a bathroom door and Leonard that makes no rational sense.)\u003c/p>\n\u003cp>[aside postid='arts_13862625']\u003cem>Knock at the Cabin\u003c/em> is a morality play, but it’s a highly effective one. Flashbacks to moments in Andrew, Eric and Wen’s lives together allow us to emotionally invest in their fate. Andrew is pragmatic but hot-headed, while Eric is calmer and more open to things beyond his earthly understanding. Wen, a nature-loving child, simply doesn’t want anyone to get hurt, whether they be inside or outside the cabin.\u003c/p>\n\u003cp>It also helps that Andrew and Eric’s reactions and decision-making are influenced indelibly by their status as a gay couple who’s previously survived prejudice and homophobic violence. It keeps the pair grounded and skeptical about the strangers’ intentions in a realistic way. Andrew is also perfectly open about the fact that he’s just not sure that the rest of the world is worth saving.\u003c/p>\n\u003cp>No such elaborations are provided about the four strangers. We in the audience know only as much about these anxious, weapon-laden weirdos as the family does. And having to take the four strangers’ words at face value forces us, the audience, to examine what we would do in the family’s situation. Throughout, the movie asks us indirectly: How much of this would you believe? Can you trust any of these people? What would \u003cem>you\u003c/em> do?\u003c/p>\n\u003cp>People still tend to expect big twists from M. Night Shyamalan tales, on account of his most famous projects, and 2021’s \u003cem>Old\u003c/em> proved he’s still got it. But with \u003cem>Knock at the Cabin\u003c/em>, the journey is ultimately more important than the destination. Though the movie provides a satisfying ending, the family wrestling with their own survival and what they owe to the rest of the world is the most enjoyable and thought-provoking element of the story to sit with. If there is a twist here, it’s in the conversations you’ll have with loved ones after the credits roll.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Knock at the Cabin’ is in theaters Feb. 3.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever wanted to find out how much of a nihilist one of your loved ones is, go see \u003ca href=\"https://www.imdb.com/title/tt15679400/?ref_=nv_sr_srsg_0\">\u003cem>Knock at the Cabin\u003c/em>\u003c/a> with them and have a little chat about it afterwards. The movie is steeped in complex moral philosophy principles. However your loved one feels about the last 10 minutes of the movie will tell you everything you need to know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m going to try and get through this review with virtually no spoilers (it’s really a much better movie if you go into it knowing as little as possible), so I’ll just tell you the most basic premise. Adorable family — dads Andrew and Eric (Ben Aldridge and Jonathan Groff) and their daughter Wen (Kristen Cui) — go on vacation at a cabin on a lake in the Pennsylvania countryside. One day, four strangers, led by the physically imposing Leonard (David Bautista dressed like a Mormon missionary), arrive and announce that humanity’s fate lies in the family’s hands.\u003c/p>\n\u003cp>If Andrew, Eric or Wen does not die by a method delivered by one of their own family members in the next 24 hours (no suicides allowed), everyone on Earth will die and the trio will be cursed to wander the desolate planet alone. Unsurprisingly, the family is not overjoyed at the prospect of being forced to murder one of the people they love the most, and fullblown fights and complicated conversations ensue. The questions are fairly obvious: Who is the sinister foursome? Why should the family believe them? And is there anything in the doom quartet’s stories that doesn’t quite add up?\u003c/p>\n\u003cp>Much of the movie is spent answering all of those questions, but there is never a dull moment.\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/0wiBHEACNHs'\n title='//www.youtube.com/embed/0wiBHEACNHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, if you’re thinking this slightly preposterous premise sounds like a fairly thin plotline to spend an entire movie on, I’m right there with you. (“Could’ve been a \u003cem>Twilight Zone\u003c/em> episode” was one of my initial thoughts when first hearing about the film.)\u003c/p>\n\u003cp>But don’t let the apparent flimsiness fool you. \u003cem>Knock at the Cabin \u003c/em>is gripping throughout its 100 minutes, and there is of course more to it than I’m telling you. There are some brutal plot turns, and it helps that, for the most part, the family’s reactions to this dire situation are realistic. (Save for one unfortunate scene involving the dads, a bathroom door and Leonard that makes no rational sense.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Knock at the Cabin\u003c/em> is a morality play, but it’s a highly effective one. Flashbacks to moments in Andrew, Eric and Wen’s lives together allow us to emotionally invest in their fate. Andrew is pragmatic but hot-headed, while Eric is calmer and more open to things beyond his earthly understanding. Wen, a nature-loving child, simply doesn’t want anyone to get hurt, whether they be inside or outside the cabin.\u003c/p>\n\u003cp>It also helps that Andrew and Eric’s reactions and decision-making are influenced indelibly by their status as a gay couple who’s previously survived prejudice and homophobic violence. It keeps the pair grounded and skeptical about the strangers’ intentions in a realistic way. Andrew is also perfectly open about the fact that he’s just not sure that the rest of the world is worth saving.\u003c/p>\n\u003cp>No such elaborations are provided about the four strangers. We in the audience know only as much about these anxious, weapon-laden weirdos as the family does. And having to take the four strangers’ words at face value forces us, the audience, to examine what we would do in the family’s situation. Throughout, the movie asks us indirectly: How much of this would you believe? Can you trust any of these people? What would \u003cem>you\u003c/em> do?\u003c/p>\n\u003cp>People still tend to expect big twists from M. Night Shyamalan tales, on account of his most famous projects, and 2021’s \u003cem>Old\u003c/em> proved he’s still got it. But with \u003cem>Knock at the Cabin\u003c/em>, the journey is ultimately more important than the destination. Though the movie provides a satisfying ending, the family wrestling with their own survival and what they owe to the rest of the world is the most enjoyable and thought-provoking element of the story to sit with. If there is a twist here, it’s in the conversations you’ll have with loved ones after the credits roll.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Knock at the Cabin’ is in theaters Feb. 3.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pamela Anderson was always a bit of an open book in interviews. No one ever told her not to be, or that because she talked about some things that she didn’t have to talk about everything. She didn’t know that she could draw her own line in the sand if a question made her feel uncomfortable.\u003c/p>\n\u003cp>And so she answered all manner of questions about her breasts, her body, her image, her boyfriends — partially because she was gracious and self-deprecating, partially because her body was, in some ways, her meal ticket and partially because the people asking these questions were more often than not respected journalists working for respected outlets.\u003c/p>\n\u003cp>[aside postid='arts_13908915']From the moment that audience camera zoomed in on her in the Labatt T-shirt at a Canadian football game in 1989, the image of Pamela Anderson was, essentially, no longer her own. It belonged to everyone else.\u003c/p>\n\u003cp>By the time private home videos showing her and husband Tommy Lee having sex were stolen, reproduced and distributed for sale globally, no one seemed all that horrified on her behalf. They couldn’t even fake it when speaking to her. She wasn’t a person; She was just an object. And then, in some ways, it was done all over again many years later when the Hulu series \u003cem>Pam & Tommy\u003c/em> was made without her involvement or consent.\u003c/p>\n\u003cp>\u003cem>Pamela, a Love Story\u003c/em>, a new documentary from filmmaker Ryan White, gives Anderson the chance to tell her story her own way, from her earliest days to her \u003cem>Playboy\u003c/em> debut, her \u003cem>Baywatch\u003c/em> fame, her many marriages and up through her recent run on Broadway. She is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3SBJB8r8fVQ\u003c/p>\n\u003cp>Anderson’s life was and is immensely complex. Her parents’ relationship was volatile and sometimes violent. They lived on welfare for a time and she still remembers the taste of the powdered milk. She had a female babysitter who molested her for years. At age 12 she was raped by a 25-year-old. She learned early to leave her body and make her own little world, she says, and she knew from a young age that she had to get off that island.\u003c/p>\n\u003cp>Like many women before and after her, Anderson didn’t feel beautiful growing up and after the sexual trauma, her body was a source of secret shame. Ironic that it was her body that would be her ticket out, ultimately. But modeling felt like playing a character, she said. Even when mostly nude, it didn’t feel like herself. Sometimes it was even fun.\u003c/p>\n\u003cp>[aside postid='arts_13810000']There is a breeziness to Anderson, who, despite everything, does not think of herself as a victim. She doesn’t regret marrying Tommy Lee after four days of knowing him — her account of the quick courtship is quite amusing. At a certain point, though sick of always having to talk about her breasts, she used her image for a cause she cared about: PETA. She even sat through a roast under the condition that a sizable donation be made to the organization. She is a hopeful romantic who is hard not to root for.\u003c/p>\n\u003cp>She has made peace with many, many things, some simply by refusing to dwell, but one thing that still stings is the tape — such a clear violation of her privacy that you wonder what sort of culture and legal system would allow it to get as out of control as it did. That a series would attempt to make entertainment out of it just reopened old wounds and traumas. Even if it was done out of some altruistic motive to reframe the recent past, for Anderson, it was another group of people making money off, what her son calls, the worst thing that’s ever happened to her.\u003c/p>\n\u003cp>As this documentary reminds, Anderson is still right here. She’s not some distant, deceased figure who needs to be speculated about or saved by miniseries. You can just ask her how she felt about it then, how she feels about it now: She’ll tell you.\u003c/p>\n\u003cp>You wonder if no one thought to ever ask her the right questions before, if we just weren’t listening carefully enough, or the wrong people were in the position to ask the questions. But I’m glad that this era of the biographical documentary is going strong, allowing for people like Anderson to correct the record themselves.\u003c/p>\n\u003cp>Besides, at 54 she’s moved on and has surprises yet, including a well-received Broadway run as Roxie Hart in \u003cem>Chicago\u003c/em>. “Nowadays” would have been a canny choice for a closing montage for a documentary like this, but hearing it in Anderson’s perfectly imperfect voice is simply revelatory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pamela, a Love Story,’ is streaming now on Netflix. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pamela Anderson was always a bit of an open book in interviews. No one ever told her not to be, or that because she talked about some things that she didn’t have to talk about everything. She didn’t know that she could draw her own line in the sand if a question made her feel uncomfortable.\u003c/p>\n\u003cp>And so she answered all manner of questions about her breasts, her body, her image, her boyfriends — partially because she was gracious and self-deprecating, partially because her body was, in some ways, her meal ticket and partially because the people asking these questions were more often than not respected journalists working for respected outlets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From the moment that audience camera zoomed in on her in the Labatt T-shirt at a Canadian football game in 1989, the image of Pamela Anderson was, essentially, no longer her own. It belonged to everyone else.\u003c/p>\n\u003cp>By the time private home videos showing her and husband Tommy Lee having sex were stolen, reproduced and distributed for sale globally, no one seemed all that horrified on her behalf. They couldn’t even fake it when speaking to her. She wasn’t a person; She was just an object. And then, in some ways, it was done all over again many years later when the Hulu series \u003cem>Pam & Tommy\u003c/em> was made without her involvement or consent.\u003c/p>\n\u003cp>\u003cem>Pamela, a Love Story\u003c/em>, a new documentary from filmmaker Ryan White, gives Anderson the chance to tell her story her own way, from her earliest days to her \u003cem>Playboy\u003c/em> debut, her \u003cem>Baywatch\u003c/em> fame, her many marriages and up through her recent run on Broadway. She is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.\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/3SBJB8r8fVQ'\n title='//www.youtube.com/embed/3SBJB8r8fVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anderson’s life was and is immensely complex. Her parents’ relationship was volatile and sometimes violent. They lived on welfare for a time and she still remembers the taste of the powdered milk. She had a female babysitter who molested her for years. At age 12 she was raped by a 25-year-old. She learned early to leave her body and make her own little world, she says, and she knew from a young age that she had to get off that island.\u003c/p>\n\u003cp>Like many women before and after her, Anderson didn’t feel beautiful growing up and after the sexual trauma, her body was a source of secret shame. Ironic that it was her body that would be her ticket out, ultimately. But modeling felt like playing a character, she said. Even when mostly nude, it didn’t feel like herself. Sometimes it was even fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a breeziness to Anderson, who, despite everything, does not think of herself as a victim. She doesn’t regret marrying Tommy Lee after four days of knowing him — her account of the quick courtship is quite amusing. At a certain point, though sick of always having to talk about her breasts, she used her image for a cause she cared about: PETA. She even sat through a roast under the condition that a sizable donation be made to the organization. She is a hopeful romantic who is hard not to root for.\u003c/p>\n\u003cp>She has made peace with many, many things, some simply by refusing to dwell, but one thing that still stings is the tape — such a clear violation of her privacy that you wonder what sort of culture and legal system would allow it to get as out of control as it did. That a series would attempt to make entertainment out of it just reopened old wounds and traumas. Even if it was done out of some altruistic motive to reframe the recent past, for Anderson, it was another group of people making money off, what her son calls, the worst thing that’s ever happened to her.\u003c/p>\n\u003cp>As this documentary reminds, Anderson is still right here. She’s not some distant, deceased figure who needs to be speculated about or saved by miniseries. You can just ask her how she felt about it then, how she feels about it now: She’ll tell you.\u003c/p>\n\u003cp>You wonder if no one thought to ever ask her the right questions before, if we just weren’t listening carefully enough, or the wrong people were in the position to ask the questions. But I’m glad that this era of the biographical documentary is going strong, allowing for people like Anderson to correct the record themselves.\u003c/p>\n\u003cp>Besides, at 54 she’s moved on and has surprises yet, including a well-received Broadway run as Roxie Hart in \u003cem>Chicago\u003c/em>. “Nowadays” would have been a canny choice for a closing montage for a documentary like this, but hearing it in Anderson’s perfectly imperfect voice is simply revelatory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pamela, a Love Story,’ is streaming now on Netflix. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan",
"headTitle": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan | KQED",
"content": "\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>[aside postid='pop_997']Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2jyBu4xGeH4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13920514']I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921477']All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>[aside postid='pop_105090']In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Caplan has seen a lot of changes in how the entertainment industry treats women, since she started out on ‘Freaks and Geeks.’ ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\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/2jyBu4xGeH4'\n title='//www.youtube.com/embed/2jyBu4xGeH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Get These Sundance 2023 Movies on Your Radar Now",
"headTitle": "Get These Sundance 2023 Movies on Your Radar Now | KQED",
"content": "\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>[aside postid='arts_13924083']But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TRFM7HQmkH0\u003c/p>\n\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6D4rZzR15Wk\u003c/p>\n\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13924104']On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>[aside postid='arts_13923793']Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\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/TRFM7HQmkH0'\n title='//www.youtube.com/embed/TRFM7HQmkH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\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/6D4rZzR15Wk'\n title='//www.youtube.com/embed/6D4rZzR15Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Civil Dead’ Asks the Perpetual Question: What Do You Do When Your Friend is a Ghost?",
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"content": "\u003cp>It’s best I get this out the way early so we all know what we’re dealing with here. \u003cem>The Civil Dead\u003c/em> is a movie about a struggling photographer in Los Angeles who one day runs into a childhood friend of his who, it turns out, is now a ghost.\u003c/p>\n\u003cp>Yah-huh.\u003c/p>\n\u003cp>[aside postid='arts_13862625']\u003cem>The Civil Dead\u003c/em> is not a horror movie, though there are unnerving moments. It’s not a straightforward comedy either, though I did laugh out loud more than I thought I would. It’s also not some deep metaphor about long-lost childhood comfort, or the way things from our past can reemerge in times of crisis and haunt us.\u003c/p>\n\u003cp>Nope. \u003cem>The Civil Dead\u003c/em> is simply a movie in which screenwriters and lead actors Clay Tatum and Whitmer Thomas explore what might happen if a person suddenly found themselves with a ghost friend. What would you do? What could you get away with? What would you hate about it? The end result is absurd and a bit sad and will make you sympathize with ghosts more than probably any other movie you’ve ever seen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MLuoTYYIAsc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tatum plays photographer Clay, an unmotivated, dishonest man who thinks a purposely bad haircut is a sensible substitute for a decent personality. Thomas plays his needy ghost friend Whit with an endearing vulnerability and quiet resignation. Both characters are flawed and a bit selfish. Both are bored and unfulfilled. Both, on some level, deserve one another.\u003c/p>\n\u003cp>[aside postid='arts_13924104']The brilliance of \u003cem>The Civil Dead\u003c/em> lies in its insistence on presenting this ghost story in a way that is thoroughly rooted in the everyday and mundane. The film is realistic about how this scenario becomes tiresome for both of its protagonists, and Thomas and Tatum’s real-life friendship grounds the more ethereal aspects of the story.\u003c/p>\n\u003cp>In many ways, \u003cem>The Civil Dead\u003c/em> is refreshing and surprising. For one, the film’s “ghost rules” are a little different from what moviegoers have come to expect. Here, ghosts can’t float through walls or open doors or move objects on purpose. If Whit wants to go somewhere, he has to walk to it which, stuck in LA, makes for an arduous existence. Poor Whit is thoroughly at the mercy of humans and the humans have a habit (Clay included) of dehumanizing him on account of his deadness.\u003c/p>\n\u003cp>If there is a lesson in \u003cem>The Civil Dead\u003c/em> — and I’m not 100% sure there is — it might be that life is cruel, but death is worse. Or perhaps the lesson is to value even the smallest, silliest things in life. “I miss driving,” Whit ponders to himself at one point. “I miss sweating. I miss being hungry and thirsty. I miss burping and farting … I wish I had done more fucked-up shit when I was alive.”\u003c/p>\n\u003cp>\u003cem>The Civil Dead\u003c/em> also reminds us to treat others with kindness, even when they’re annoying; even when they’re trying to hang out with us for all eternity. It’s a strange little movie that never quite does what you’re expecting it to. Most delightfully, the movie’s ending is one that, like a ghost, you won’t see coming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Civil Dead’ opens at the \u003ca href=\"https://drafthouse.com/sf/event/live-q-a-the-civil-dead\">Alamo Drafthouse\u003c/a> on Feb. 4, 2023, with a live Q&A with Clay Tatum and Whitmer Thomas. The movie will be available on demand starting Feb. 17.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Amusing, off-kilter and about the calmest haunting on Earth, ’The Civil Dead’ is full of surprises, zero jump scares. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The brilliance of \u003cem>The Civil Dead\u003c/em> lies in its insistence on presenting this ghost story in a way that is thoroughly rooted in the everyday and mundane. The film is realistic about how this scenario becomes tiresome for both of its protagonists, and Thomas and Tatum’s real-life friendship grounds the more ethereal aspects of the story.\u003c/p>\n\u003cp>In many ways, \u003cem>The Civil Dead\u003c/em> is refreshing and surprising. For one, the film’s “ghost rules” are a little different from what moviegoers have come to expect. Here, ghosts can’t float through walls or open doors or move objects on purpose. If Whit wants to go somewhere, he has to walk to it which, stuck in LA, makes for an arduous existence. Poor Whit is thoroughly at the mercy of humans and the humans have a habit (Clay included) of dehumanizing him on account of his deadness.\u003c/p>\n\u003cp>If there is a lesson in \u003cem>The Civil Dead\u003c/em> — and I’m not 100% sure there is — it might be that life is cruel, but death is worse. Or perhaps the lesson is to value even the smallest, silliest things in life. “I miss driving,” Whit ponders to himself at one point. “I miss sweating. I miss being hungry and thirsty. I miss burping and farting … I wish I had done more fucked-up shit when I was alive.”\u003c/p>\n\u003cp>\u003cem>The Civil Dead\u003c/em> also reminds us to treat others with kindness, even when they’re annoying; even when they’re trying to hang out with us for all eternity. It’s a strange little movie that never quite does what you’re expecting it to. Most delightfully, the movie’s ending is one that, like a ghost, you won’t see coming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Civil Dead’ opens at the \u003ca href=\"https://drafthouse.com/sf/event/live-q-a-the-civil-dead\">Alamo Drafthouse\u003c/a> on Feb. 4, 2023, with a live Q&A with Clay Tatum and Whitmer Thomas. The movie will be available on demand starting Feb. 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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