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"content": "\u003cp>This year’s face slap of Chris Rock by Will Smith was just the latest bizarre moment in the history of the Academy Awards.\u003c/p>\n\u003cp>[aside postid='pop_105648']From Roberto Benigni climbing across the theater’s chairs between him and his statuette to \u003ca href=\"https://pagesix.com/article/bjork-swan-dress-oscars-2001/\" target=\"_blank\" rel=\"noopener noreferrer\">Björk laying eggs on the red carpet\u003c/a>, Oscar ceremonies often go off script, sometimes spectacularly so.\u003c/p>\n\u003cp>We look back to five cases of the best-laid plans going awry, in ways serious, slapstick and slapdash.\u003c/p>\n\u003ch3>\u003cstrong>An early night\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2riKdGOdU3E\u003c/p>\n\u003cp>That the Oscars ran too short might seem improbable as we now regularly approach a three-and-a-half-hour run time, but that is exactly what happened during the 31st Academy Awards in 1959. In an ultimately overzealous effort to make sure the show ran on time, the show’s producer Jerry Wald began cutting numbers from the show, leading the ceremony to end 20 minutes short of its intended two-hour run. Host Jerry Lewis and several other celebrities were left to improvise before NBC cut to a rerun of a sports broadcast.\u003c/p>\n\u003ch3>\u003cstrong>An Oscar he did refuse\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While politically charged speeches may be par for the course nowadays, that was not the case in 1973, when Sacheen Littlefeather endured taunts and jeers as she took the stage to reject an Oscar on behalf of best actor winner Marlon Brando. Littlefeather, an Apache actress, said Brando “very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry … and also with recent happenings at Wounded Knee. I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity.”\u003c/p>\n\u003cp>[aside postid='arts_13869074']To make the event even more surreal, Western star John Wayne—who spent a large portion of his career pretending to slaughter Native Americans on-screen—\u003ca href=\"https://www.theglobeandmail.com/arts/awards-and-festivals/film-awards/sacheen-littlefeather-marlon-brandos-one-time-oscars-accomplice-on-how-hollywood-has-changed/article28901215/\" target=\"_blank\" rel=\"noopener noreferrer\">was backstage wanting to remove Littlefeather before she spoke, according to an interview she gave in later years.\u003c/a>\u003c/p>\n\u003cp>After the ceremony, Littlefeather read to journalists \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html\" target=\"_blank\" rel=\"noopener noreferrer\">the full 15-page speech Brando had prepared\u003c/a>. The speech is credited with bringing more attention to the Wounded Knee standoff between the Oglala and the United States government.\u003c/p>\n\u003ch3>\u003cstrong>“Nothing to Hide”\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=EWBc-ir6IFM\u003c/p>\n\u003cp>Gay rights activist Robert Opel didn’t worry too much about what he was going to wear to the 1974 Academy Awards, opting instead to streak the stage wearing nothing more than his mustache—just before the award ceremony announced the winner for best picture. Opel, no stranger to public nudity, would later bare it all at a Los Angeles City Council meeting—interrupting a debate on outlawing nudity on public beaches—and even run for president as a nudist under the slogan “Nothing to Hide.”\u003c/p>\n\u003cp>After Opel’s brief performance, host David Niven offered the devastating quip, “Isn’t it fascinating to think that probably the only laugh that man will ever get in life is by stripping off and showing his shortcomings?”\u003c/p>\n\u003ch3>\u003cstrong>Sometimes the risk doesn’t pay off\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9mronRVvdmw\u003c/p>\n\u003cp>The most alarming part of this incident might be that it was planned. 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But after thanking his family and the Academy, producer Jordan Horowitz quickly returned to the microphone and announced that there had been a mistake: \u003ca href=\"https://www.npr.org/2017/02/27/517563215/la-la-land-producer-reacts-to-best-picture-blunder\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight\u003c/em> had won best picture\u003c/a>. Amid the chaos that ensued Beatty explained that he and Dunaway had been given the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+most+unexpected+moments+in+Oscars%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To make the event even more surreal, Western star John Wayne—who spent a large portion of his career pretending to slaughter Native Americans on-screen—\u003ca href=\"https://www.theglobeandmail.com/arts/awards-and-festivals/film-awards/sacheen-littlefeather-marlon-brandos-one-time-oscars-accomplice-on-how-hollywood-has-changed/article28901215/\" target=\"_blank\" rel=\"noopener noreferrer\">was backstage wanting to remove Littlefeather before she spoke, according to an interview she gave in later years.\u003c/a>\u003c/p>\n\u003cp>After the ceremony, Littlefeather read to journalists \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html\" target=\"_blank\" rel=\"noopener noreferrer\">the full 15-page speech Brando had prepared\u003c/a>. The speech is credited with bringing more attention to the Wounded Knee standoff between the Oglala and the United States government.\u003c/p>\n\u003ch3>\u003cstrong>“Nothing to Hide”\u003c/strong>\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/EWBc-ir6IFM'\n title='//www.youtube.com/embed/EWBc-ir6IFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gay rights activist Robert Opel didn’t worry too much about what he was going to wear to the 1974 Academy Awards, opting instead to streak the stage wearing nothing more than his mustache—just before the award ceremony announced the winner for best picture. Opel, no stranger to public nudity, would later bare it all at a Los Angeles City Council meeting—interrupting a debate on outlawing nudity on public beaches—and even run for president as a nudist under the slogan “Nothing to Hide.”\u003c/p>\n\u003cp>After Opel’s brief performance, host David Niven offered the devastating quip, “Isn’t it fascinating to think that probably the only laugh that man will ever get in life is by stripping off and showing his shortcomings?”\u003c/p>\n\u003ch3>\u003cstrong>Sometimes the risk doesn’t pay off\u003c/strong>\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/9mronRVvdmw'\n title='//www.youtube.com/embed/9mronRVvdmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most alarming part of this incident might be that it was planned. The 61st Academy Awards opened with an 11-minute song and dance number starring Rob Lowe and Eileen Bowman as Snow White and featured lavish costumes, plenty of sparkles, and little to no relevance to the rest of the show.\u003c/p>\n\u003ch3>\u003cstrong>And the winner is…?\u003c/strong>\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/GCQn_FkFElI'\n title='//www.youtube.com/embed/GCQn_FkFElI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In 2012 a photograph of the still very alive film producer Jan Chapman was featured during the In Memoriam segment, and Faye Dunaway and Warren Beatty announced that \u003cem>La La Land\u003c/em> had won best picture. The cast and crew of the film, which had already won 12 other awards, were ecstatic as they crowded the stage. But after thanking his family and the Academy, producer Jordan Horowitz quickly returned to the microphone and announced that there had been a mistake: \u003ca href=\"https://www.npr.org/2017/02/27/517563215/la-la-land-producer-reacts-to-best-picture-blunder\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight\u003c/em> had won best picture\u003c/a>. Amid the chaos that ensued Beatty explained that he and Dunaway had been given the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. 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"title": "The Top Movies Ever to Win the Best Picture Oscar, by NPR Listeners",
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"content": "\u003cp>We argue every year about what should win best picture, and what will win best picture—but what about the \u003cem>best \u003c/em>best picture? We turned to our listeners with a poll to set all the best picture winners against each other to reach a final, \u003cem>Thunderdome\u003c/em>-style result. Recency bias! Nostalgia! Familiarity and unfamiliarity! All kinds of forces collided as our listeners chose their 15 favorite best picture winners (each person got to vote for five), and we’re here to count them all down.\u003c/p>\n\u003ch3>15. Amadeus (1984)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r7kWQj9FCGY\u003c/p>\n\u003cp>\u003cem>Amadeus \u003c/em>may be the prototypical sprig of Oscars catnip: a heavily fictionalized historical drama fueled by thundering lead performances from F. Murray Abraham (as Antonio Salieri) and Tom Hulce (as his brilliant-but-doomed tormentor, Wolfgang Amadeus Mozart). But damned if it isn’t grandly appointed, richly thought-provoking catnip. Nearly 40 years after its release, \u003cem>Amadeus \u003c/em>still informs countless conversations about genius, envy and the horrors of being second-best. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>14. West Side Story (1961)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=NF1L3NorO3E\u003c/p>\n\u003cp>Since the announcement of Steven Spielberg’s remake a few years ago, I’ve noticed a lot more pointed critiques and flat out dismissals of the 1961 original film, and its Broadway inspiration. Sure, Natalie Wood is woefully miscast, Rita Moreno wore brownface for her Oscar-winning role as Anita, and the characters as written are as thin as the blades that fell Bernardo and Riff at the rumble … and yet, its cultural imprint seems unlikely to be erased anytime soon. The show has lived on as long as it has in countless school productions and several revivals largely (mostly?) \u003cem>because \u003c/em>of this movie and the hold it maintains on American imaginations, for better and for worse.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>13. Forrest Gump (1994)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=bLvqoHBptjg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wait, I thought collectively we’d all agreed this movie is Bad, Actually—saccharine, slight, a frustratingly watered down and apolitical take on history … No? Hm, well, I guess nostalgia remains a helluva drug; the movie itself is already stuffed with corn-fed heaps of it, and nearly 30 years since its release, it’s become a nostalgic artifact of its own. It’s still not hard to stumble across it on cable TV, and aside from Woody the cowboy, this simple guy may turn out to be Tom Hanks’ most enduring character. —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>12. No Country for Old Men (2007)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=38A__WT3-o0\u003c/p>\n\u003cp>Has there ever been a Best Picture winner more brutal and nihilistic than \u003cem>No Country for Old Men\u003c/em>? I suppose a case could be made for \u003cem>The\u003c/em> \u003cem>Silence of the Lambs\u003c/em>, but with this film, the Coen Brothers took themes they’d explored in movies like \u003cem>Fargo \u003c/em>and \u003cem>Blood Simple—\u003c/em>the implacable nature of violence, human helplessness in the face of fate—and distilled them into the unforgettable figure of Javier Bardem’s laconic, relentless hitman Anton Chigurh.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>11. All About Eve (1950)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=LSntQerk8cQ\u003c/p>\n\u003cp>If you haven’t seen this film in a while, you might have forgotten how bracingly fresh and fierce it remains, how every line of dialogue uttered by George Sanders as theater critic Addison DeWitt drips pure green poison. Broadway star Margo Channing is the role of Bette Davis’ life, and Anne Baxter serves you wide-eyed innocence and scheming vindictiveness, in turn—and sometimes, miraculously, both at once. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>10. The Godfather Part II (1974)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9O1Iy9od7-A\u003c/p>\n\u003cp>Duh, right? The ascendance of Al Pacino’s Michael Corleone as the heir to his father’s throne is the stuff that masterful epics are made of. Meld that with a hop back in time, via the striking performance of Robert De Niro as the young Don Vito Corleone, and you’ve got one of the greatest movies ever made, period. The generational contrasts, the historical context, the astounding tragedy of it all (“I know it was you, Fredo”). Really, what more can be said that hasn’t already been said? —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>9. Titanic (1997)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jUm88F3MEbQ\u003c/p>\n\u003cp>\u003cem>Titanic \u003c/em>might have fared better in the popular imagination if it had \u003cem>not \u003c/em>won best picture. Its huge popularity, its catch-phrase-able script, \u003cem>and \u003c/em>best picture? It’s the kind of omnipresence that can transform a film from beloved to “ugh” in a hurry. But \u003cem>Titanic \u003c/em>is still a swoonily romantic, technically intricate spectacle with two star-making performances from Leonardo DiCaprio and Kate Winslet. Plus, it created the “was there room for Jack on that door?” debate that lives on to this day. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>8. The Lord of the Rings: Return of the King (2003)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r5X-hFf6Bwo\u003c/p>\n\u003cp>Look: The logistics alone should send this film to #1. Think about it: From a brass tacks, film production perspective alone, this movie—the capstone to Peter Jackson’s trilogy adapting J.R.R. Tolkien’s sweeping saga of high fantasy and hairy feet—is a towering achievement. Think of the sheer work required to channel the technical and artistic skills of so many thousands of people into a single endeavor. Think of the huge amount of international, interdisciplinary communication, coordination and integration involved. Think of how just the line-item in the budget for elf-ears alone would choke a Mumakil. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>7. The Sound of Music (1965)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=UY6uw3WpPzY\u003c/p>\n\u003cp>The songs! The children! The escape from war! The Baroness, who really cannot be blamed for wishing she had brought her harmonica! \u003cem>The Sound of Music \u003c/em>is the movie musical that defines the genre for a lot of people (some of whom love it and some of whom … do not). And for all its schmaltzy sweetness, it packs a surprisingly sexy punch in the burgeoning relationship between Maria and Captain von Trapp. It even has hero nuns! It’s no surprise to find it’s one of our listeners’ … favorite things. (I’m sorry.) — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>6. The Godfather (1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=UaVTIH8mujA\u003c/p>\n\u003cp>Not every movie that’s so deeply embedded in pop culture has been able to withstand the test of time. (Ahem, \u003cem>Gone With the Wind.\u003c/em>) But \u003cem>The Godfather \u003c/em>remains fresh, with credit due to its timeless themes, stacked cast, and sheer cinematic quotability. Even if you’ve never seen this film before, you’ve seen it before, because it’s touched nearly every facet of life (including politics) of the last 50 years. Proof that sometimes, the Oscars \u003cem>do\u003c/em> get it right.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>5. The Silence of the Lambs (1991)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=W6Mm8Sbe__o\u003c/p>\n\u003cp>The phrase “cannibalistic serial killer” doesn’t turn up in the synopses of most best picture winners, but \u003cem>The Silence of the Lambs\u003c/em> isn’t just any horror movie. It’s a psychological thriller headlined by Oscar-winning performances from Jodie Foster and Anthony Hopkins, who makes a meal (sorry) of some of the film’s juiciest bits of dialogue. The portrayal of serial killer Buffalo Bill hasn’t aged well, but the deeply uneasy relationship at the film’s center haunts audiences to this day. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>4. Schindler’s List (1993)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gG22XNhtnoY\u003c/p>\n\u003cp>The cultural significance of \u003cem>Schindler’s List \u003c/em>extends well beyond its Oscars pedigree: Steven Spielberg’s film, which tells the story of German industrialist Oskar Schindler, also helped spark a worldwide reckoning around the Holocaust while many of its survivors were still alive to tell their stories. It’s also a sublimely made film, thanks in part to stunning cinematography (by Janusz Kamiński), an unforgettable score (by John Williams) and riveting performances from Liam Neeson, Ben Kingsley and Ralph Fiennes, among others. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>3. Moonlight (2016)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9NJj12tJzqc\u003c/p>\n\u003cp>Yes, best pictures can be about spectacle, bombast, “dreams made of shadow and light,” etc. But in the right hands, they can also explore something as deeply personal and shockingly intimate as identity, as in this searchingly empathetic film written and directed by Barry Jenkins, which follows a queer Black boy through his adolescence and manhood. Every frame is shot through with the ache of melancholy, a desperate yearning for connection, and the main character’s exhausting self-vigilance to keep anyone from seeing him for who he is. Not for nothing, it also supplied us with the most memorable Oscar-night moment in recent memory. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>2. Casablanca (1943)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=BkL9l7qovsE\u003c/p>\n\u003cp>Humphrey Bogart, Ingrid Bergman and Paul Henreid form a haunted love triangle in a Moroccan World War II purgatory full of faint promise, deadly peril and a song that can’t stop conjuring old, hard memories. Virtually every line of \u003cem>Casablanca\u003c/em> has long been etched in the cultural firmament, serving as the source material for many generations’ worth of callbacks and references. Yet the film hasn’t lost its relevance or emotional pull, as its story of refugees, uncertainty and war continues to reverberate. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>1. Parasite (2019)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=isOGD_7hNIY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not only is Bong Joon-ho’s \u003cem>Parasite \u003c/em>a brilliant satire and a twisty story that’s practically two movies in one; it was one of the most satisfying best picture victories ever. If you wanted the Oscars to move past the dutiful, boring wins that some years had brought, the idea of \u003cem>Parasite \u003c/em>actually taking the trophy was just about the best thing you could hope for. Together with \u003cem>Moonlight \u003c/em>winning a couple of years earlier, it really started to seem like the wonderful films you \u003cem>wished \u003c/em>could win best picture actually could. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+voted+%E2%80%94+here%27s+a+ranking+of+the+top+movies+ever+to+win+an+Oscar+for+best+picture+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We argue every year about what should win best picture, and what will win best picture—but what about the \u003cem>best \u003c/em>best picture? We turned to our listeners with a poll to set all the best picture winners against each other to reach a final, \u003cem>Thunderdome\u003c/em>-style result. Recency bias! Nostalgia! Familiarity and unfamiliarity! All kinds of forces collided as our listeners chose their 15 favorite best picture winners (each person got to vote for five), and we’re here to count them all down.\u003c/p>\n\u003ch3>15. Amadeus (1984)\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/r7kWQj9FCGY'\n title='//www.youtube.com/embed/r7kWQj9FCGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Amadeus \u003c/em>may be the prototypical sprig of Oscars catnip: a heavily fictionalized historical drama fueled by thundering lead performances from F. Murray Abraham (as Antonio Salieri) and Tom Hulce (as his brilliant-but-doomed tormentor, Wolfgang Amadeus Mozart). But damned if it isn’t grandly appointed, richly thought-provoking catnip. Nearly 40 years after its release, \u003cem>Amadeus \u003c/em>still informs countless conversations about genius, envy and the horrors of being second-best. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>14. West Side Story (1961)\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/NF1L3NorO3E'\n title='//www.youtube.com/embed/NF1L3NorO3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since the announcement of Steven Spielberg’s remake a few years ago, I’ve noticed a lot more pointed critiques and flat out dismissals of the 1961 original film, and its Broadway inspiration. Sure, Natalie Wood is woefully miscast, Rita Moreno wore brownface for her Oscar-winning role as Anita, and the characters as written are as thin as the blades that fell Bernardo and Riff at the rumble … and yet, its cultural imprint seems unlikely to be erased anytime soon. The show has lived on as long as it has in countless school productions and several revivals largely (mostly?) \u003cem>because \u003c/em>of this movie and the hold it maintains on American imaginations, for better and for worse.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>13. Forrest Gump (1994)\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/bLvqoHBptjg'\n title='//www.youtube.com/embed/bLvqoHBptjg'\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>Wait, I thought collectively we’d all agreed this movie is Bad, Actually—saccharine, slight, a frustratingly watered down and apolitical take on history … No? Hm, well, I guess nostalgia remains a helluva drug; the movie itself is already stuffed with corn-fed heaps of it, and nearly 30 years since its release, it’s become a nostalgic artifact of its own. It’s still not hard to stumble across it on cable TV, and aside from Woody the cowboy, this simple guy may turn out to be Tom Hanks’ most enduring character. —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>12. No Country for Old Men (2007)\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/38A__WT3-o0'\n title='//www.youtube.com/embed/38A__WT3-o0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Has there ever been a Best Picture winner more brutal and nihilistic than \u003cem>No Country for Old Men\u003c/em>? I suppose a case could be made for \u003cem>The\u003c/em> \u003cem>Silence of the Lambs\u003c/em>, but with this film, the Coen Brothers took themes they’d explored in movies like \u003cem>Fargo \u003c/em>and \u003cem>Blood Simple—\u003c/em>the implacable nature of violence, human helplessness in the face of fate—and distilled them into the unforgettable figure of Javier Bardem’s laconic, relentless hitman Anton Chigurh.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>11. All About Eve (1950)\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/LSntQerk8cQ'\n title='//www.youtube.com/embed/LSntQerk8cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you haven’t seen this film in a while, you might have forgotten how bracingly fresh and fierce it remains, how every line of dialogue uttered by George Sanders as theater critic Addison DeWitt drips pure green poison. Broadway star Margo Channing is the role of Bette Davis’ life, and Anne Baxter serves you wide-eyed innocence and scheming vindictiveness, in turn—and sometimes, miraculously, both at once. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>10. The Godfather Part II (1974)\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/9O1Iy9od7-A'\n title='//www.youtube.com/embed/9O1Iy9od7-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Duh, right? The ascendance of Al Pacino’s Michael Corleone as the heir to his father’s throne is the stuff that masterful epics are made of. Meld that with a hop back in time, via the striking performance of Robert De Niro as the young Don Vito Corleone, and you’ve got one of the greatest movies ever made, period. The generational contrasts, the historical context, the astounding tragedy of it all (“I know it was you, Fredo”). Really, what more can be said that hasn’t already been said? —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>9. Titanic (1997)\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/jUm88F3MEbQ'\n title='//www.youtube.com/embed/jUm88F3MEbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Titanic \u003c/em>might have fared better in the popular imagination if it had \u003cem>not \u003c/em>won best picture. Its huge popularity, its catch-phrase-able script, \u003cem>and \u003c/em>best picture? It’s the kind of omnipresence that can transform a film from beloved to “ugh” in a hurry. But \u003cem>Titanic \u003c/em>is still a swoonily romantic, technically intricate spectacle with two star-making performances from Leonardo DiCaprio and Kate Winslet. Plus, it created the “was there room for Jack on that door?” debate that lives on to this day. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>8. The Lord of the Rings: Return of the King (2003)\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/r5X-hFf6Bwo'\n title='//www.youtube.com/embed/r5X-hFf6Bwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look: The logistics alone should send this film to #1. Think about it: From a brass tacks, film production perspective alone, this movie—the capstone to Peter Jackson’s trilogy adapting J.R.R. Tolkien’s sweeping saga of high fantasy and hairy feet—is a towering achievement. Think of the sheer work required to channel the technical and artistic skills of so many thousands of people into a single endeavor. Think of the huge amount of international, interdisciplinary communication, coordination and integration involved. Think of how just the line-item in the budget for elf-ears alone would choke a Mumakil. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>7. The Sound of Music (1965)\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/UY6uw3WpPzY'\n title='//www.youtube.com/embed/UY6uw3WpPzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The songs! The children! The escape from war! The Baroness, who really cannot be blamed for wishing she had brought her harmonica! \u003cem>The Sound of Music \u003c/em>is the movie musical that defines the genre for a lot of people (some of whom love it and some of whom … do not). And for all its schmaltzy sweetness, it packs a surprisingly sexy punch in the burgeoning relationship between Maria and Captain von Trapp. It even has hero nuns! It’s no surprise to find it’s one of our listeners’ … favorite things. (I’m sorry.) — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>6. The Godfather (1972)\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/UaVTIH8mujA'\n title='//www.youtube.com/embed/UaVTIH8mujA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not every movie that’s so deeply embedded in pop culture has been able to withstand the test of time. (Ahem, \u003cem>Gone With the Wind.\u003c/em>) But \u003cem>The Godfather \u003c/em>remains fresh, with credit due to its timeless themes, stacked cast, and sheer cinematic quotability. Even if you’ve never seen this film before, you’ve seen it before, because it’s touched nearly every facet of life (including politics) of the last 50 years. Proof that sometimes, the Oscars \u003cem>do\u003c/em> get it right.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>5. The Silence of the Lambs (1991)\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/W6Mm8Sbe__o'\n title='//www.youtube.com/embed/W6Mm8Sbe__o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The phrase “cannibalistic serial killer” doesn’t turn up in the synopses of most best picture winners, but \u003cem>The Silence of the Lambs\u003c/em> isn’t just any horror movie. It’s a psychological thriller headlined by Oscar-winning performances from Jodie Foster and Anthony Hopkins, who makes a meal (sorry) of some of the film’s juiciest bits of dialogue. The portrayal of serial killer Buffalo Bill hasn’t aged well, but the deeply uneasy relationship at the film’s center haunts audiences to this day. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>4. Schindler’s List (1993)\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/gG22XNhtnoY'\n title='//www.youtube.com/embed/gG22XNhtnoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The cultural significance of \u003cem>Schindler’s List \u003c/em>extends well beyond its Oscars pedigree: Steven Spielberg’s film, which tells the story of German industrialist Oskar Schindler, also helped spark a worldwide reckoning around the Holocaust while many of its survivors were still alive to tell their stories. It’s also a sublimely made film, thanks in part to stunning cinematography (by Janusz Kamiński), an unforgettable score (by John Williams) and riveting performances from Liam Neeson, Ben Kingsley and Ralph Fiennes, among others. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>3. Moonlight (2016)\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/9NJj12tJzqc'\n title='//www.youtube.com/embed/9NJj12tJzqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yes, best pictures can be about spectacle, bombast, “dreams made of shadow and light,” etc. But in the right hands, they can also explore something as deeply personal and shockingly intimate as identity, as in this searchingly empathetic film written and directed by Barry Jenkins, which follows a queer Black boy through his adolescence and manhood. Every frame is shot through with the ache of melancholy, a desperate yearning for connection, and the main character’s exhausting self-vigilance to keep anyone from seeing him for who he is. Not for nothing, it also supplied us with the most memorable Oscar-night moment in recent memory. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>2. Casablanca (1943)\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/BkL9l7qovsE'\n title='//www.youtube.com/embed/BkL9l7qovsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Humphrey Bogart, Ingrid Bergman and Paul Henreid form a haunted love triangle in a Moroccan World War II purgatory full of faint promise, deadly peril and a song that can’t stop conjuring old, hard memories. Virtually every line of \u003cem>Casablanca\u003c/em> has long been etched in the cultural firmament, serving as the source material for many generations’ worth of callbacks and references. Yet the film hasn’t lost its relevance or emotional pull, as its story of refugees, uncertainty and war continues to reverberate. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>1. Parasite (2019)\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/isOGD_7hNIY'\n title='//www.youtube.com/embed/isOGD_7hNIY'\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>Not only is Bong Joon-ho’s \u003cem>Parasite \u003c/em>a brilliant satire and a twisty story that’s practically two movies in one; it was one of the most satisfying best picture victories ever. If you wanted the Oscars to move past the dutiful, boring wins that some years had brought, the idea of \u003cem>Parasite \u003c/em>actually taking the trophy was just about the best thing you could hope for. Together with \u003cem>Moonlight \u003c/em>winning a couple of years earlier, it really started to seem like the wonderful films you \u003cem>wished \u003c/em>could win best picture actually could. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+voted+%E2%80%94+here%27s+a+ranking+of+the+top+movies+ever+to+win+an+Oscar+for+best+picture+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 Books at the Intersection of Black Feminist Thought, Culture, and Politics",
"headTitle": "5 Books at the Intersection of Black Feminist Thought, Culture, and Politics | KQED",
"content": "\u003cp>Two things can be true at the same time. We’re in a time of \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">backlash\u003c/a> to ideas that challenge white America’s perception of itself, and we’re also living through a great reevaluation of what American society can and should look like.\u003c/p>\n\u003cp>It’s also true that some of the most important leaders on the frontlines of these battles are Black women, people like law professor Kimberle Crenshaw who helped develop the concept of \u003ca href=\"https://www.npr.org/2021/03/29/982357959/what-does-intersectionality-mean\" target=\"_blank\" rel=\"noopener noreferrer\">intersectionality\u003c/a> and the much debated and maligned and misunderstood \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">critical race theory\u003c/a> and a new wave of thinkers picking up that inheritance. Black feminists are also some of the most astute observers and theorists of American mass culture right now. Scholars and writers like Patricia Hill Collins, Joan Morgan, and the late bell hooks have long understood that oppression and injustice is perpetrated and enacted through customs and cultural practices as well as law. At its root, Black feminism is an ideology of liberation rooted in Black women’s experience, with the inclusive aim of disrupting oppressive social hierarchies for all people. Black feminist theory is arguably now a key part of how all of us make sense of the world.\u003c/p>\n\u003cp>[aside postid='arts_13892105']At the same time, the kind of cultural analysis that Black feminists promote continues to be controversial. Between the numerous attacks on library collections and \u003ca href=\"https://www.pbs.org/newshour/show/how-the-political-debate-on-teaching-race-in-schools-is-impacting-students-and-educators\" target=\"_blank\" rel=\"noopener noreferrer\">school curricula\u003c/a>—a 2021 NBC News \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">analysis\u003c/a> found at least 165 local and national groups are trying to disrupt or block lessons on race and gender—and the recent passing of the \u003ca href=\"https://www.kqed.org/arts/13907371/bell-hooks-obituary-feminist-author-activist\" target=\"_blank\" rel=\"noopener noreferrer\">foundational cultural theorist bell hooks\u003c/a>, questions of culture and identity bubbled up with renewed urgency.\u003c/p>\n\u003cp>A silver lining in this time of contradictions, of creativity, and precarity, has been the bumper crop of new books at the intersection of Black feminist thought, culture, and politics. Even better, this great flowering is not isolated to the proverbial ivory tower. With Nichole Perkins’ popular memoir \u003cem>Sometimes I Trip On How Happy We Could Be\u003c/em> and Zeba Blay’s essay collection \u003cem>Care-Free Black Girls\u003c/em>, I was struck by how vibrant, wide ranging and central the conversation is right now around Black women, feminism and culture. Looking at these books it’s immediately clear how relevant they are to people’s lives.\u003c/p>\n\u003cp>Choosing a short list from the recent bounty is a daunting task, but these five books stand out in conversation and contrast with each other. Though they target different audiences and sit within different genres of nonfiction—from memoir to cultural analysis to theory—they share certain hallmarks: a celebration of marginalized, unruly Black women and concurrent rejection of the politics of respectability; the not so secret realization that as dissatisfied as we are with our exclusion and distorted depictions, popular culture plays a big role in all our lives; and a keen awareness of the complex connections between representation and reality.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Sometimes I Trip on How Happy We Could Be \u003c/em>\u003c/strong>\u003cstrong>by Nichole Perkins\u003c/strong>\u003c/h3>\n\u003cp>No one writes better about the personal relationship between culture and girlhood than Nichole Perkins, a popular cultural commentator and writer. Her first book is a page turner, a singular and seamless blend of memoir and cultural analysis. I found her words heart-wrenching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910865 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg\" alt=\"\" width=\"328\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589-160x244.jpg 160w\" sizes=\"(max-width: 328px) 100vw, 328px\">As a former host of \u003cem>The Thirst-Aid Kit\u003c/em>, a podcast aimed at analyzing the intersection of sexual desire and popular culture, the way Perkins writes about her burgeoning sexuality and the awareness of how that’s different when you’re Black is particularly effective. She exposes the pervasive shaming around sex, and how it’s not equally distributed. Societal rules differ by race (for Black girls versus white girls) and gender (for Black boys and Black girls). Too often, Black girls have been relentlessly shamed, and that formative personal experience has been reinforced by the culture.\u003c/p>\n\u003cp>That experience can be crushing. So, unlike the dearth of love stories for Black girls in film and television when Nichole was growing up: “There were plenty of sassy Black teenagers on television, in characters like Dee Thomas on \u003cem>What’s Happening!!\u003c/em> or Tootie on \u003cem>The Facts of Life\u003c/em>. These girls always had a smart remark ready on their lips and got plenty of laughs, but just like in real life around my way, every crush they had led to lectures or scolds… Images of white girls in love came easily, but everywhere I turned Black girls were warned.”\u003c/p>\n\u003cp>That passage is just one example of how Perkins’ work blends passion and analysis. My list of highlights is endless. Like in a confessional conversation, albeit one that is as incisive as it is emotional, Perkins is adept at connecting personal experience to cultural and social practices.\u003c/p>\n\u003cp>Not everything hits perfectly, but there is no doubt that this memoir is very real and candid. The passages where Perkins writes about her family are also especially powerful. One part that just about broke me was Perkins’ discussion with her aunt of Tenessee Williams’ American classic, \u003cem>Cat on a Hot Tin Roof\u003c/em>. Her insights resonated far and wide on her podcast, and readers will nod along to these words as well.\u003c/p>\n\u003ch3>\u003cem>Carefree Black Girls\u003c/em> by Zeba Blay\u003c/h3>\n\u003cp>Though the concept spread like wildfire in 2013, the idea of the “carefree Black girl” was always more of an aspiration than reality. It spoke to a hunger and lack in the images and discourse around Black women. As author Zeba Blay notes in her book: “Social media has always been a great place for pretending, for playing, for projecting some idealized version of self. A way to hide in plain sight. I posted the selfie and the hashtag. An attempt to be carefree.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910866 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg\" alt=\"\" width=\"337\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_-160x237.jpg 160w\" sizes=\"(max-width: 337px) 100vw, 337px\">Expanding on the concept and archetype Blay originated, Blay’s first book is similarly aspirational, but also deeper and more confessional. \u003cem>Carefree Black Girls: A Celebration of Black Women in Popular Culture\u003c/em> is “a meditation on a single idea: what it means to be a Black woman and truly be ‘carefree.'” With a clarity of mission that Blay executes masterfully, the book hangs together with admirable cohesion. One of the more personal subjects Blay explores is her struggle with depression, and the role that art and culture plays in her recovery: “Turning to art and turning to Black women has always been the road by which I come back to myself.”\u003c/p>\n\u003cp>As personal as those revelations are, like the other authors on this list, Blay is also clear on the connections she makes to larger cultural trends and phenomena outside of herself. The stories she relates are specific, but not isolated. Staking a claim and underscoring her point in the most direct way possible, she writes, “Our stories are culturally and historically relevant.”\u003c/p>\n\u003cp>There’s beauty in Zeba Blay’s style and substance in her ideas. I was struck by the poignance of her plea and how familiar it sounded: “Hopefully, whoever you are, reading this, you find inspiration in that beauty. And hopefully you are reminded that Black women are essential.” That this message pops up so consistently across these books, and that so many of these authors feel it needs to be repeated, speaks volumes.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Bad Fat Black Girl\u003c/em> by Sesali Bowen\u003c/strong>\u003c/h3>\n\u003cp>Both manifesto and memoir, Sesali Bowen’s \u003cem>Bad Fat Black Girl\u003c/em> is another standout. It’s written from the perspective of someone who’s both a media scholar and activist, and it shows.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910867 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">Like the other authors, Bowen weaves together observations about cultural expression with broader social attitudes and ideas. But there’s more of an urgency and grit and an irrepressible, profane irreverence to a book titled\u003cem> Bad Fat Black Girl\u003c/em>. Bowen also brings more of an outsider perspective. She grew up working class and she’s not trying to aspire or fit into white-dominated “mainstream” culture.\u003c/p>\n\u003cp>Influenced by Joan Morgan’s \u003cem>When Chickenheads Come Home to Roost \u003c/em>(about reconciling feminism and hip-hop) and trap music, Sesali Bowen weaves together feminist theory and hip-hop analysis from the perspective of someone who loves and lives for it. Citing trap artists like Yo Gotti, Gucci Mane and Travis Porter alongside Megan Thee Stallion and Cardi B, Bowen articulates a vision of what she calls “trap feminism,” a music and street-inflected ethos of empowerment. Despite trap being known as reductive, Bowen refused to “accept the idea that no good could come out of trap music. I wanted to reconcile the fact that some of my favorite trap songs made me, a queer Black woman, feel good, proud, and even inspired.”\u003c/p>\n\u003cp>[aside postid='arts_13810477']Bowen also effectively argues that a lot of what is dismissed as “ratchet” or uncouth is really a conscious aesthetic of rebellion, a way of eschewing still white-centered patriarchal conventions that fail girls like herself. With behavior and style choices that make sense for their environment and circumstances, “ghetto girls,” she says, perform gender in rebellious ways that are often disrespected and yet envied and eventually emulated.\u003c/p>\n\u003cp>Bowen is a versatile and agile commentator, equally convincing and expert in her explication of the idea of the “bad bitch” as an expression of power in hip-hop and citing bell hooks on why beauty is a “politicized concept” that maintains what hooks called “imperialist, capitalist, white supremacist patriarchy.” The latter may seem like a long list of “isms” and labels, but Bowen shows that these dimensions of social hierarchy and control have real-world implications. She names and shames a system of cultural gatekeeping in which hip-hop and even Bowen’s beloved trap culture is complicit, assigning value and affording respect and opportunity to a select group. And, in keeping with that, as Bowen shows, even when Black girls are celebrated, it’s within a narrow range of acceptable images of Black femininity. Existing outside those “aesthetic rules” (as Bowen herself does) has consequences:\u003c/p>\n\u003cp>“It means that you’ve committed an egregious act against the social order. Women who find themselves too far away from the center of beauty norms are often treated as if they’ve committed treason, our aesthetic a public-facing betrayal of our refusal to conform…”\u003c/p>\n\u003cp>Complicating that analysis, Bowen also calls out the classism and cultural biases even within Black media circles where so many of her colleagues come from privilege and “have had to untangle their Blackness from the web of whiteness they were socialized in.” This is one reason Bowen is powerful; she takes no prisoners. Going against every tide, Bowen’s trap feminism enthusiastically celebrates “ghetto girl culture.” More than reconciling feminism with hip-hop, she marshals its power.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Misogynoir Transformed:\u003c/em>\u003c/strong> \u003cstrong>\u003cem>Black Women’s Digital Resistance by \u003c/em>\u003c/strong>\u003cstrong>Moya Bailey\u003c/strong>\u003c/h3>\n\u003cp>Known for coining the term misogynoir, a portmanteau of the words “misogyny,” meaning the hatred of women, and noir, the French word for black, Northwestern professor Moya Bailey has already made a mark on the landscape of American culture that extends beyond academia. The term and its implications have penetrated popular consciousness. With her first solo-authored book, Bailey expands this impact.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910868 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg\" alt=\"\" width=\"232\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg 232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95-160x241.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">As seen in the books on this list, the work of Patricia Hill Collins has influenced many writers in the Black feminist tradition, but with Bailey, that legacy is more direct. Building on works like Collins’ \u003cem>Black Feminist Thought \u003c/em>and bell hooks’\u003cem> Black Looks\u003c/em>, Bailey expands our understanding of the link between media portrayals of Black women, which people like to think of as merely symbolic or superficial, and real world, material consequences:\u003c/p>\n\u003cp>“…the media that circulate misogynoir help maintain white supremacy by offering tacit approval of the disparate treatment that Black women negotiate in society. Whether the Jezebel, mammy, Sapphire, and later the ‘welfare queen’ or even the ‘strong Black woman’ archetype, misogynoiristic portrayals of Black women shape their livelihoods and health.”\u003c/p>\n\u003cp>In other words, contrary to those who would dismiss the weight of culture, Black feminist theory “articulates the power of the image.” By shaping the way that society views marginalized groups and how we view ourselves, cultural images help shape our social relations.\u003c/p>\n\u003cp>By design and necessity, this project is inherently political. Like Collins before her, Bailey’s work is significant on its own. But such work also adds essential perspective and depth to the efforts of political scientists like Angie Hancock, author of \u003cem>\u003ca href=\"https://nyupress.org/9780814736708/the-politics-of-disgust/\">The Politics of Disgust\u003c/a>\u003c/em> whose research established in quantifiable terms the impact of the welfare queen image on public policy debates around the social safety net. Today, it’s hard to understand American politics without coming to grips with the concepts Bailey’s grappling with.\u003c/p>\n\u003cp>Bailey’s aims are ambitious. She’s not interested in just shining a light on misogynoir; she’s interested in its destruction. In a voice that is scholarly yet accessible, she tackles media culture from television and film to Tumblr to YouTube web series, to hashtags, revealing how different media contribute to, transform and/or challenge the pervasive circulation of misogynoir and, importantly, how Black people deploy digital activism to resist. Though expansive, Bailey’s scope is also strategic; she privileges those too often marginalized in feminist conversations: “Black women as well as Black nonbinary, agender, and gender-variant folks’ work and voices.” The penultimate chapter, “Alchemists in Action against Misogynoir, ” which is Bailey’s most personal, focuses on Tumblr. It’s a particular treat.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Digital Black Feminism\u003c/em> by Catherine Knight Steele\u003c/strong>\u003c/h3>\n\u003cp>In\u003cem> Digital Black Feminism\u003c/em>, Catherine Knight Steele centers Black women unapologetically within the study of digital culture. “Digital Black feminism is a mechanism to understand how Black feminist thought is altered by and alters technology,” she writes. This work has multiple dimensions. First and fundamentally, Steele exposes the frequent oversight of Black women’s contributions as a distortion that limits deeper understanding of the dynamics of the digital world. As Steele establishes, Black women’s involvement in digital spaces has been broad-based, influential and persistent. Understanding that digital culture requires getting this part of it right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910869 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg\" alt=\"\" width=\"333\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_-160x240.jpg 160w\" sizes=\"(max-width: 333px) 100vw, 333px\">So one contribution of Steele’s work is as a course correction to the work that’s been done before. At the same time, this book also recognizes and builds on the significant inroads made by scholars studying race and technology including Safiya Noble (\u003cem>\u003ca href=\"https://www.marketplace.org/shows/marketplace-tech/algorithms-are-often-biased-what-if-tech-firms-were-held-responsible/\" target=\"_blank\" rel=\"noopener noreferrer\">Algorithms of Oppression\u003c/a>\u003c/em>), Sarah Florini, and Andre Brock.\u003c/p>\n\u003cp>Steele has two core aims. First, she positions Black women online as central to the future of communication technology just as they’ve been central to its past. Second, per its title, \u003cem>Digital Black Feminism\u003c/em> traces and critically examines a evolutionary shift in Black feminism thought, one driven and enabled by new technology.\u003c/p>\n\u003cp>As both a researcher and a member of these spaces, she’s well-equipped for these tasks. Diving into a wide-ranging digital archive six years in the making, she demonstrates how online spaces expand and shape the work of Black feminist liberation while making insightful connections to the Black thinkers and writers that came before. In one chapter, Steele explores the parallels between hip-hop’s formative influence on an earlier generation of feminists and the role of digital technology in Black feminism today, noting how money changed both of those relationships. For a book with heft, it strikes an impressive balance of accessibility and intellectual innovation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003ca href=\"https://twitter.com/bellcv\" target=\"_blank\" rel=\"noopener noreferrer\">@BellCV\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+at+the+intersection+of+Black+feminist+thought%2C+culture%2C+and+politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two things can be true at the same time. We’re in a time of \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">backlash\u003c/a> to ideas that challenge white America’s perception of itself, and we’re also living through a great reevaluation of what American society can and should look like.\u003c/p>\n\u003cp>It’s also true that some of the most important leaders on the frontlines of these battles are Black women, people like law professor Kimberle Crenshaw who helped develop the concept of \u003ca href=\"https://www.npr.org/2021/03/29/982357959/what-does-intersectionality-mean\" target=\"_blank\" rel=\"noopener noreferrer\">intersectionality\u003c/a> and the much debated and maligned and misunderstood \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">critical race theory\u003c/a> and a new wave of thinkers picking up that inheritance. Black feminists are also some of the most astute observers and theorists of American mass culture right now. Scholars and writers like Patricia Hill Collins, Joan Morgan, and the late bell hooks have long understood that oppression and injustice is perpetrated and enacted through customs and cultural practices as well as law. At its root, Black feminism is an ideology of liberation rooted in Black women’s experience, with the inclusive aim of disrupting oppressive social hierarchies for all people. Black feminist theory is arguably now a key part of how all of us make sense of the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, the kind of cultural analysis that Black feminists promote continues to be controversial. Between the numerous attacks on library collections and \u003ca href=\"https://www.pbs.org/newshour/show/how-the-political-debate-on-teaching-race-in-schools-is-impacting-students-and-educators\" target=\"_blank\" rel=\"noopener noreferrer\">school curricula\u003c/a>—a 2021 NBC News \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">analysis\u003c/a> found at least 165 local and national groups are trying to disrupt or block lessons on race and gender—and the recent passing of the \u003ca href=\"https://www.kqed.org/arts/13907371/bell-hooks-obituary-feminist-author-activist\" target=\"_blank\" rel=\"noopener noreferrer\">foundational cultural theorist bell hooks\u003c/a>, questions of culture and identity bubbled up with renewed urgency.\u003c/p>\n\u003cp>A silver lining in this time of contradictions, of creativity, and precarity, has been the bumper crop of new books at the intersection of Black feminist thought, culture, and politics. Even better, this great flowering is not isolated to the proverbial ivory tower. With Nichole Perkins’ popular memoir \u003cem>Sometimes I Trip On How Happy We Could Be\u003c/em> and Zeba Blay’s essay collection \u003cem>Care-Free Black Girls\u003c/em>, I was struck by how vibrant, wide ranging and central the conversation is right now around Black women, feminism and culture. Looking at these books it’s immediately clear how relevant they are to people’s lives.\u003c/p>\n\u003cp>Choosing a short list from the recent bounty is a daunting task, but these five books stand out in conversation and contrast with each other. Though they target different audiences and sit within different genres of nonfiction—from memoir to cultural analysis to theory—they share certain hallmarks: a celebration of marginalized, unruly Black women and concurrent rejection of the politics of respectability; the not so secret realization that as dissatisfied as we are with our exclusion and distorted depictions, popular culture plays a big role in all our lives; and a keen awareness of the complex connections between representation and reality.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Sometimes I Trip on How Happy We Could Be \u003c/em>\u003c/strong>\u003cstrong>by Nichole Perkins\u003c/strong>\u003c/h3>\n\u003cp>No one writes better about the personal relationship between culture and girlhood than Nichole Perkins, a popular cultural commentator and writer. Her first book is a page turner, a singular and seamless blend of memoir and cultural analysis. I found her words heart-wrenching.\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=\"size-full wp-image-13910865 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg\" alt=\"\" width=\"328\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589-160x244.jpg 160w\" sizes=\"(max-width: 328px) 100vw, 328px\">As a former host of \u003cem>The Thirst-Aid Kit\u003c/em>, a podcast aimed at analyzing the intersection of sexual desire and popular culture, the way Perkins writes about her burgeoning sexuality and the awareness of how that’s different when you’re Black is particularly effective. She exposes the pervasive shaming around sex, and how it’s not equally distributed. Societal rules differ by race (for Black girls versus white girls) and gender (for Black boys and Black girls). Too often, Black girls have been relentlessly shamed, and that formative personal experience has been reinforced by the culture.\u003c/p>\n\u003cp>That experience can be crushing. So, unlike the dearth of love stories for Black girls in film and television when Nichole was growing up: “There were plenty of sassy Black teenagers on television, in characters like Dee Thomas on \u003cem>What’s Happening!!\u003c/em> or Tootie on \u003cem>The Facts of Life\u003c/em>. These girls always had a smart remark ready on their lips and got plenty of laughs, but just like in real life around my way, every crush they had led to lectures or scolds… Images of white girls in love came easily, but everywhere I turned Black girls were warned.”\u003c/p>\n\u003cp>That passage is just one example of how Perkins’ work blends passion and analysis. My list of highlights is endless. Like in a confessional conversation, albeit one that is as incisive as it is emotional, Perkins is adept at connecting personal experience to cultural and social practices.\u003c/p>\n\u003cp>Not everything hits perfectly, but there is no doubt that this memoir is very real and candid. The passages where Perkins writes about her family are also especially powerful. One part that just about broke me was Perkins’ discussion with her aunt of Tenessee Williams’ American classic, \u003cem>Cat on a Hot Tin Roof\u003c/em>. Her insights resonated far and wide on her podcast, and readers will nod along to these words as well.\u003c/p>\n\u003ch3>\u003cem>Carefree Black Girls\u003c/em> by Zeba Blay\u003c/h3>\n\u003cp>Though the concept spread like wildfire in 2013, the idea of the “carefree Black girl” was always more of an aspiration than reality. It spoke to a hunger and lack in the images and discourse around Black women. As author Zeba Blay notes in her book: “Social media has always been a great place for pretending, for playing, for projecting some idealized version of self. A way to hide in plain sight. I posted the selfie and the hashtag. An attempt to be carefree.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910866 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg\" alt=\"\" width=\"337\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_-160x237.jpg 160w\" sizes=\"(max-width: 337px) 100vw, 337px\">Expanding on the concept and archetype Blay originated, Blay’s first book is similarly aspirational, but also deeper and more confessional. \u003cem>Carefree Black Girls: A Celebration of Black Women in Popular Culture\u003c/em> is “a meditation on a single idea: what it means to be a Black woman and truly be ‘carefree.'” With a clarity of mission that Blay executes masterfully, the book hangs together with admirable cohesion. One of the more personal subjects Blay explores is her struggle with depression, and the role that art and culture plays in her recovery: “Turning to art and turning to Black women has always been the road by which I come back to myself.”\u003c/p>\n\u003cp>As personal as those revelations are, like the other authors on this list, Blay is also clear on the connections she makes to larger cultural trends and phenomena outside of herself. The stories she relates are specific, but not isolated. Staking a claim and underscoring her point in the most direct way possible, she writes, “Our stories are culturally and historically relevant.”\u003c/p>\n\u003cp>There’s beauty in Zeba Blay’s style and substance in her ideas. I was struck by the poignance of her plea and how familiar it sounded: “Hopefully, whoever you are, reading this, you find inspiration in that beauty. And hopefully you are reminded that Black women are essential.” That this message pops up so consistently across these books, and that so many of these authors feel it needs to be repeated, speaks volumes.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Bad Fat Black Girl\u003c/em> by Sesali Bowen\u003c/strong>\u003c/h3>\n\u003cp>Both manifesto and memoir, Sesali Bowen’s \u003cem>Bad Fat Black Girl\u003c/em> is another standout. It’s written from the perspective of someone who’s both a media scholar and activist, and it shows.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910867 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">Like the other authors, Bowen weaves together observations about cultural expression with broader social attitudes and ideas. But there’s more of an urgency and grit and an irrepressible, profane irreverence to a book titled\u003cem> Bad Fat Black Girl\u003c/em>. Bowen also brings more of an outsider perspective. She grew up working class and she’s not trying to aspire or fit into white-dominated “mainstream” culture.\u003c/p>\n\u003cp>Influenced by Joan Morgan’s \u003cem>When Chickenheads Come Home to Roost \u003c/em>(about reconciling feminism and hip-hop) and trap music, Sesali Bowen weaves together feminist theory and hip-hop analysis from the perspective of someone who loves and lives for it. Citing trap artists like Yo Gotti, Gucci Mane and Travis Porter alongside Megan Thee Stallion and Cardi B, Bowen articulates a vision of what she calls “trap feminism,” a music and street-inflected ethos of empowerment. Despite trap being known as reductive, Bowen refused to “accept the idea that no good could come out of trap music. I wanted to reconcile the fact that some of my favorite trap songs made me, a queer Black woman, feel good, proud, and even inspired.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bowen also effectively argues that a lot of what is dismissed as “ratchet” or uncouth is really a conscious aesthetic of rebellion, a way of eschewing still white-centered patriarchal conventions that fail girls like herself. With behavior and style choices that make sense for their environment and circumstances, “ghetto girls,” she says, perform gender in rebellious ways that are often disrespected and yet envied and eventually emulated.\u003c/p>\n\u003cp>Bowen is a versatile and agile commentator, equally convincing and expert in her explication of the idea of the “bad bitch” as an expression of power in hip-hop and citing bell hooks on why beauty is a “politicized concept” that maintains what hooks called “imperialist, capitalist, white supremacist patriarchy.” The latter may seem like a long list of “isms” and labels, but Bowen shows that these dimensions of social hierarchy and control have real-world implications. She names and shames a system of cultural gatekeeping in which hip-hop and even Bowen’s beloved trap culture is complicit, assigning value and affording respect and opportunity to a select group. And, in keeping with that, as Bowen shows, even when Black girls are celebrated, it’s within a narrow range of acceptable images of Black femininity. Existing outside those “aesthetic rules” (as Bowen herself does) has consequences:\u003c/p>\n\u003cp>“It means that you’ve committed an egregious act against the social order. Women who find themselves too far away from the center of beauty norms are often treated as if they’ve committed treason, our aesthetic a public-facing betrayal of our refusal to conform…”\u003c/p>\n\u003cp>Complicating that analysis, Bowen also calls out the classism and cultural biases even within Black media circles where so many of her colleagues come from privilege and “have had to untangle their Blackness from the web of whiteness they were socialized in.” This is one reason Bowen is powerful; she takes no prisoners. Going against every tide, Bowen’s trap feminism enthusiastically celebrates “ghetto girl culture.” More than reconciling feminism with hip-hop, she marshals its power.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Misogynoir Transformed:\u003c/em>\u003c/strong> \u003cstrong>\u003cem>Black Women’s Digital Resistance by \u003c/em>\u003c/strong>\u003cstrong>Moya Bailey\u003c/strong>\u003c/h3>\n\u003cp>Known for coining the term misogynoir, a portmanteau of the words “misogyny,” meaning the hatred of women, and noir, the French word for black, Northwestern professor Moya Bailey has already made a mark on the landscape of American culture that extends beyond academia. The term and its implications have penetrated popular consciousness. With her first solo-authored book, Bailey expands this impact.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910868 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg\" alt=\"\" width=\"232\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg 232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95-160x241.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">As seen in the books on this list, the work of Patricia Hill Collins has influenced many writers in the Black feminist tradition, but with Bailey, that legacy is more direct. Building on works like Collins’ \u003cem>Black Feminist Thought \u003c/em>and bell hooks’\u003cem> Black Looks\u003c/em>, Bailey expands our understanding of the link between media portrayals of Black women, which people like to think of as merely symbolic or superficial, and real world, material consequences:\u003c/p>\n\u003cp>“…the media that circulate misogynoir help maintain white supremacy by offering tacit approval of the disparate treatment that Black women negotiate in society. Whether the Jezebel, mammy, Sapphire, and later the ‘welfare queen’ or even the ‘strong Black woman’ archetype, misogynoiristic portrayals of Black women shape their livelihoods and health.”\u003c/p>\n\u003cp>In other words, contrary to those who would dismiss the weight of culture, Black feminist theory “articulates the power of the image.” By shaping the way that society views marginalized groups and how we view ourselves, cultural images help shape our social relations.\u003c/p>\n\u003cp>By design and necessity, this project is inherently political. Like Collins before her, Bailey’s work is significant on its own. But such work also adds essential perspective and depth to the efforts of political scientists like Angie Hancock, author of \u003cem>\u003ca href=\"https://nyupress.org/9780814736708/the-politics-of-disgust/\">The Politics of Disgust\u003c/a>\u003c/em> whose research established in quantifiable terms the impact of the welfare queen image on public policy debates around the social safety net. Today, it’s hard to understand American politics without coming to grips with the concepts Bailey’s grappling with.\u003c/p>\n\u003cp>Bailey’s aims are ambitious. She’s not interested in just shining a light on misogynoir; she’s interested in its destruction. In a voice that is scholarly yet accessible, she tackles media culture from television and film to Tumblr to YouTube web series, to hashtags, revealing how different media contribute to, transform and/or challenge the pervasive circulation of misogynoir and, importantly, how Black people deploy digital activism to resist. Though expansive, Bailey’s scope is also strategic; she privileges those too often marginalized in feminist conversations: “Black women as well as Black nonbinary, agender, and gender-variant folks’ work and voices.” The penultimate chapter, “Alchemists in Action against Misogynoir, ” which is Bailey’s most personal, focuses on Tumblr. It’s a particular treat.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Digital Black Feminism\u003c/em> by Catherine Knight Steele\u003c/strong>\u003c/h3>\n\u003cp>In\u003cem> Digital Black Feminism\u003c/em>, Catherine Knight Steele centers Black women unapologetically within the study of digital culture. “Digital Black feminism is a mechanism to understand how Black feminist thought is altered by and alters technology,” she writes. This work has multiple dimensions. First and fundamentally, Steele exposes the frequent oversight of Black women’s contributions as a distortion that limits deeper understanding of the dynamics of the digital world. As Steele establishes, Black women’s involvement in digital spaces has been broad-based, influential and persistent. Understanding that digital culture requires getting this part of it right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910869 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg\" alt=\"\" width=\"333\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_-160x240.jpg 160w\" sizes=\"(max-width: 333px) 100vw, 333px\">So one contribution of Steele’s work is as a course correction to the work that’s been done before. At the same time, this book also recognizes and builds on the significant inroads made by scholars studying race and technology including Safiya Noble (\u003cem>\u003ca href=\"https://www.marketplace.org/shows/marketplace-tech/algorithms-are-often-biased-what-if-tech-firms-were-held-responsible/\" target=\"_blank\" rel=\"noopener noreferrer\">Algorithms of Oppression\u003c/a>\u003c/em>), Sarah Florini, and Andre Brock.\u003c/p>\n\u003cp>Steele has two core aims. First, she positions Black women online as central to the future of communication technology just as they’ve been central to its past. Second, per its title, \u003cem>Digital Black Feminism\u003c/em> traces and critically examines a evolutionary shift in Black feminism thought, one driven and enabled by new technology.\u003c/p>\n\u003cp>As both a researcher and a member of these spaces, she’s well-equipped for these tasks. Diving into a wide-ranging digital archive six years in the making, she demonstrates how online spaces expand and shape the work of Black feminist liberation while making insightful connections to the Black thinkers and writers that came before. In one chapter, Steele explores the parallels between hip-hop’s formative influence on an earlier generation of feminists and the role of digital technology in Black feminism today, noting how money changed both of those relationships. For a book with heft, it strikes an impressive balance of accessibility and intellectual innovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003ca href=\"https://twitter.com/bellcv\" target=\"_blank\" rel=\"noopener noreferrer\">@BellCV\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+at+the+intersection+of+Black+feminist+thought%2C+culture%2C+and+politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Amy Schumer Branches Out (But Retains Her Hell-Raising Spirit) in 'Life & Beth'",
"headTitle": "Amy Schumer Branches Out (But Retains Her Hell-Raising Spirit) in ‘Life & Beth’ | KQED",
"content": "\u003cp>With really brilliant comedians, there’s nearly always a moment when they want to stop being only funny, to move beyond gags and skits, and seek out new emotional, thematic or stylistic territory. Sometimes this turns out magnificently, as when \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5574520\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Chaplin \u003c/a>began making feature films far richer than his comic shorts; with others, the results can be downright embarrassing. Think of \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>‘s ghastly attempts to be \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12347936\" target=\"_blank\" rel=\"noopener noreferrer\">Ingmar Bergman\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13909570']But such are the perils of ambition, and I admire those willing to risk them. Take one of my favorites, Amy Schumer. Her series \u003ca href=\"https://www.npr.org/2013/06/25/188698578/inside-amy-schumer-its-not-just-sex-stuff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Any Schumer\u003c/em>\u003c/a> was one of the indispensable shows of the last decade: a hilarious, raunchy, take-no-prisoners program with a steely feminist core.\u003c/p>\n\u003cp>Yet rather than keep making that series forever, she pushed herself in new directions—writing and starring in the hit film \u003ca href=\"https://www.npr.org/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Trainwreck\u003c/em>\u003c/a>, braving dramatic movie roles, even doing a cooking show with her husband. Now, she’s created and stars in an enjoyable new Hulu series, \u003cem>Life & Beth\u003c/em>, about a woman in her late 30s trying to get back in touch with who she really is.\u003c/p>\n\u003cp>Schumer plays Beth Jones, a hard-drinking wine rep in New York who doesn’t really like her job or her gung-ho jerk of a boyfriend. Then something happens that shakes her like a personal earthquake. Deciding to stop being, as she puts it, “the passive passenger in the car of her life,” she begins a voyage of self-discovery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dfz11eEOif0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This takes her home to the Long Island boonies and into flashback memories of the teenage Beth who had to deal with the difficult mother she resented—that’s \u003ca href=\"https://www.npr.org/2020/03/16/816506915/a-broadway-star-and-sunshinesongs-bring-high-school-musical-theater-to-small-scr\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Benanti\u003c/a>—and the feckless father she adored, winningly played by \u003ca href=\"https://www.npr.org/2017/11/01/561115398/actor-michael-rapaport-on-sports-highs-lows-and-lebron\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rapaport\u003c/a>. Back then, the one truly happy thing in Beth’s life was playing volleyball.\u003c/p>\n\u003cp>[aside postid='arts_13910084']Over the course of 10 episodes, Beth has all manner of mini-adventures. She goes to bars and funerals and farmers markets. She makes dirty jokes with her friends—many of them funny—and goes boating while high on mushrooms. She gets involved with a dim, hunky trainer, played by \u003ca href=\"https://www.npr.org/2017/10/31/561086996/mindhunter-actor-jonathan-groff-on-his-most-life-altering-roles\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Groff\u003c/a>, and a socially awkward farmer named John, played with a charming dryness by \u003ca href=\"https://www.npr.org/2007/06/13/480481376/michael-cera\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Cera\u003c/a>.\u003c/p>\n\u003cp>Now, as much as I liked watching \u003cem>Life & Beth\u003c/em>, it’s quite uneven. Beth’s story starts a tad slowly and its many tones never quite mesh. I kept thinking Schumer is trying to weave together two different strands of groundbreaking women’s television. One is the strand that includes \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fleabag\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/01/14/1072472731/hbo-somebody-somewhere-review-bridget-everett\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Somebody, Somewhere\u003c/em>\u003c/a>, whose heroines grapple with the past in order to move into the future. The other is found in \u003ca href=\"https://www.npr.org/2017/04/18/524452040/in-subdued-epilogue-girls-finale-leaves-new-york-most-of-the-cast-behind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2019/02/26/697712476/pamela-adlon-better-things-season-3-is-an-exaggerated-version-of-my-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Things\u003c/em>\u003c/a>, which are looser in form, and built less around a clear, overarching narrative than around capturing privileged moments and scenes that often don’t add up to anything bigger—and don’t need to.\u003c/p>\n\u003cp>I must admit that I never got fully invested in the grand arc of Beth’s attempts to let the past go. Schumer’s performance is plenty good—her acting keeps getting deeper—yet the whole healing narrative, complete with new boyfriend, feels tame and formulaic, especially coming from someone as original as Schumer. Beth’s story lacks the emotional and verbal pop of \u003cem>Fleabag\u003c/em> or the deep-body pain of \u003cem>Somebody, Somewhere\u003c/em>, whose heroine’s wounds feel much more profound than Beth’s.\u003c/p>\n\u003cp>[aside postid='arts_13909218']The show’s at its strongest when it’s less on point, giving free range to Schumer’s capacity for catching life on the wing — a spiky scene involving the Plan B morning-after pill, funny sex talk with a Black girlfriend who now chases white Jewish men, sardonic banter with her equally-screwed-up sister, an explosion of post-coital rage at John, a lovely scene of Beth’s dad teaching his daughters to eat oysters—not to mention all manner of good lines. “Do you have any preexisting conditions?” a doctor asks her before an MRI, and Beth replies, “I’m a woman.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, one great danger of cutting-edge comics expanding their range is that they can wind up having their ferocious brilliance smothered by safely conventional material, as happened to \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Pryor\u003c/a>, a certified genius who literally wound up playing a toy. Happily, Schumer escapes that fate in \u003cem>Life & Beth\u003c/em>. Although the cornball punniness of its title may give you pause, the show’s best moments prove that, inside Amy Schumer, the hell-raising spirit lives on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schumer+branches+out+%28but+retains+her+hell-raising+spirit%29+in+%27Life+%26+Beth%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With really brilliant comedians, there’s nearly always a moment when they want to stop being only funny, to move beyond gags and skits, and seek out new emotional, thematic or stylistic territory. Sometimes this turns out magnificently, as when \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5574520\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Chaplin \u003c/a>began making feature films far richer than his comic shorts; with others, the results can be downright embarrassing. Think of \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>‘s ghastly attempts to be \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12347936\" target=\"_blank\" rel=\"noopener noreferrer\">Ingmar Bergman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But such are the perils of ambition, and I admire those willing to risk them. Take one of my favorites, Amy Schumer. Her series \u003ca href=\"https://www.npr.org/2013/06/25/188698578/inside-amy-schumer-its-not-just-sex-stuff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Any Schumer\u003c/em>\u003c/a> was one of the indispensable shows of the last decade: a hilarious, raunchy, take-no-prisoners program with a steely feminist core.\u003c/p>\n\u003cp>Yet rather than keep making that series forever, she pushed herself in new directions—writing and starring in the hit film \u003ca href=\"https://www.npr.org/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Trainwreck\u003c/em>\u003c/a>, braving dramatic movie roles, even doing a cooking show with her husband. Now, she’s created and stars in an enjoyable new Hulu series, \u003cem>Life & Beth\u003c/em>, about a woman in her late 30s trying to get back in touch with who she really is.\u003c/p>\n\u003cp>Schumer plays Beth Jones, a hard-drinking wine rep in New York who doesn’t really like her job or her gung-ho jerk of a boyfriend. Then something happens that shakes her like a personal earthquake. Deciding to stop being, as she puts it, “the passive passenger in the car of her life,” she begins a voyage of self-discovery.\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/Dfz11eEOif0'\n title='//www.youtube.com/embed/Dfz11eEOif0'\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>This takes her home to the Long Island boonies and into flashback memories of the teenage Beth who had to deal with the difficult mother she resented—that’s \u003ca href=\"https://www.npr.org/2020/03/16/816506915/a-broadway-star-and-sunshinesongs-bring-high-school-musical-theater-to-small-scr\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Benanti\u003c/a>—and the feckless father she adored, winningly played by \u003ca href=\"https://www.npr.org/2017/11/01/561115398/actor-michael-rapaport-on-sports-highs-lows-and-lebron\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rapaport\u003c/a>. Back then, the one truly happy thing in Beth’s life was playing volleyball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of 10 episodes, Beth has all manner of mini-adventures. She goes to bars and funerals and farmers markets. She makes dirty jokes with her friends—many of them funny—and goes boating while high on mushrooms. She gets involved with a dim, hunky trainer, played by \u003ca href=\"https://www.npr.org/2017/10/31/561086996/mindhunter-actor-jonathan-groff-on-his-most-life-altering-roles\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Groff\u003c/a>, and a socially awkward farmer named John, played with a charming dryness by \u003ca href=\"https://www.npr.org/2007/06/13/480481376/michael-cera\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Cera\u003c/a>.\u003c/p>\n\u003cp>Now, as much as I liked watching \u003cem>Life & Beth\u003c/em>, it’s quite uneven. Beth’s story starts a tad slowly and its many tones never quite mesh. I kept thinking Schumer is trying to weave together two different strands of groundbreaking women’s television. One is the strand that includes \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fleabag\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/01/14/1072472731/hbo-somebody-somewhere-review-bridget-everett\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Somebody, Somewhere\u003c/em>\u003c/a>, whose heroines grapple with the past in order to move into the future. The other is found in \u003ca href=\"https://www.npr.org/2017/04/18/524452040/in-subdued-epilogue-girls-finale-leaves-new-york-most-of-the-cast-behind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2019/02/26/697712476/pamela-adlon-better-things-season-3-is-an-exaggerated-version-of-my-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Things\u003c/em>\u003c/a>, which are looser in form, and built less around a clear, overarching narrative than around capturing privileged moments and scenes that often don’t add up to anything bigger—and don’t need to.\u003c/p>\n\u003cp>I must admit that I never got fully invested in the grand arc of Beth’s attempts to let the past go. Schumer’s performance is plenty good—her acting keeps getting deeper—yet the whole healing narrative, complete with new boyfriend, feels tame and formulaic, especially coming from someone as original as Schumer. Beth’s story lacks the emotional and verbal pop of \u003cem>Fleabag\u003c/em> or the deep-body pain of \u003cem>Somebody, Somewhere\u003c/em>, whose heroine’s wounds feel much more profound than Beth’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show’s at its strongest when it’s less on point, giving free range to Schumer’s capacity for catching life on the wing — a spiky scene involving the Plan B morning-after pill, funny sex talk with a Black girlfriend who now chases white Jewish men, sardonic banter with her equally-screwed-up sister, an explosion of post-coital rage at John, a lovely scene of Beth’s dad teaching his daughters to eat oysters—not to mention all manner of good lines. “Do you have any preexisting conditions?” a doctor asks her before an MRI, and Beth replies, “I’m a woman.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, one great danger of cutting-edge comics expanding their range is that they can wind up having their ferocious brilliance smothered by safely conventional material, as happened to \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Pryor\u003c/a>, a certified genius who literally wound up playing a toy. Happily, Schumer escapes that fate in \u003cem>Life & Beth\u003c/em>. Although the cornball punniness of its title may give you pause, the show’s best moments prove that, inside Amy Schumer, the hell-raising spirit lives on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schumer+branches+out+%28but+retains+her+hell-raising+spirit%29+in+%27Life+%26+Beth%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Saweetie Draws on Her Roots to Make Rap That's More Personal",
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"content": "\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wji4b2jjYOk\u003c/p>\n\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>[aside postid='arts_13909111']Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>[aside postid='arts_13908051']Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>[aside postid='news_11881696']“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\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/Wji4b2jjYOk'\n title='//www.youtube.com/embed/Wji4b2jjYOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gen-X Cultural Ties to Russia Were Deliberate and Hopeful. Now, That's Eroding",
"headTitle": "Gen-X Cultural Ties to Russia Were Deliberate and Hopeful. Now, That’s Eroding | KQED",
"content": "\u003cp>As a Gen-X kid, I have to admit there was particular poignancy to the news that, following the Russian invasion of Ukraine,\u003ca href=\"https://www.npr.org/2022/03/03/1084303033/hollywood-refuses-to-open-biggest-films-in-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Russia isn’t getting \u003cem>The Batman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It’s part of a much, much bigger and more important story, of course—several much, much bigger, much more important stories. NPR’s Anastasia Tsioulcas has reported on many \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2022/03/03/1084246378/arts-organizations-putin-supporters\" target=\"_blank\" rel=\"noopener noreferrer\">severed relationships in arts\u003c/a> in recent weeks.\u003c/p>\n\u003cp>[aside postid='arts_13909903']Most of these have been attributed not simply to being Russian in and of itself, but to ties to Putin, or to a refusal to repudiate him—and to funding that comes from the Russian government. Some artists have\u003ca href=\"https://www.npr.org/2022/02/28/1083496491/russian-performers-speak-out-putin-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> actively spoken against him\u003c/a> and against the invasion, but many have not. It’s in opera, it’s in classical concerts, but it’s affecting other things, too: Russia is \u003ca href=\"https://www.npr.org/2022/02/25/1083095335/eurovision-russia-banned\" target=\"_blank\" rel=\"noopener noreferrer\">not being permitted to participate in \u003cem>Eurovision\u003c/em>\u003c/a>, where it debuted in 1994. Western musicians have been\u003ca href=\"https://www.npr.org/2022/03/02/1083981946/live-nation-entertainment-is-ceasing-business-with-russia-and-acts-cancel-dates-\" target=\"_blank\" rel=\"noopener noreferrer\"> canceling Russian dates\u003c/a> ever since the war started. As Elizabeth Blair has reported,\u003ca href=\"https://www.npr.org/2022/03/01/1083694731/u-s-russian-cultural-organizations-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> Russian cultural organizations inside the U.S.\u003c/a> are anxious about possible effects on their own work.\u003c/p>\n\u003ch3>Connections to Russia were once optimistic\u003c/h3>\n\u003cp>These boycotts are perhaps even more jarring if you remember past periods in which pop culture tried to paint a picture of deliberate, optimistic, post-Cold-War thaw. In the 1980s, particularly in the wake of the policies of glasnost and perestroika in the former Soviet Union—which encouraged openness and reform—artists went to places they wouldn’t have gone ten or even five years before. It was in 1987, 35 years ago this July, that Billy Joel brought a big pop-rock show to Leningrad and Moscow; 1989 when Billy Crystal traveled to find his Russian relatives in an HBO special called \u003cem>Midnight Train to Moscow\u003c/em>. That year also brought the Moscow Music Peace Festival, with Ozzy Osbourne, Motley Crue, and Bon Jovi among the performers.\u003c/p>\n\u003cfigure id=\"attachment_13910586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap8908120226_custom-6b2dd48ee765ba6851550e657cdf4d6ea52753b6-800x563.jpg\" alt=\"An enthusiastic crowd sings along at a stadium concert, including one young woman on someone's shoulders, arms raised in joy.\" width=\"800\" height=\"563\">\u003cfigcaption class=\"wp-caption-text\">Bon Jovi, Motley Crue, and Ozzy Osbourne played at the Moscow Music Peace Festival in August, 1989. \u003ccite>(AP Photo/Robert Toning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, all these things were presented through a lens of, for lack of a better word, a goal of international—and intentional—\u003cem>friendship\u003c/em>. Joel’s bond with an enthusiastic fan and circus clown named Viktor became one of the centerpieces of the\u003ca href=\"https://www.imdb.com/title/tt0392424/\" target=\"_blank\" rel=\"noopener noreferrer\"> documentary\u003c/a> about his trip and the basis for a later song called “Leningrad.” (“We never knew what friends we had until we came to Leningrad.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Putin became president in 2000, some of these events continued. Paul McCartney played in Red Square in 2003 and met with Putin personally. Putin\u003ca href=\"https://www.theguardian.com/music/2003/dec/14/popandrock.paulmccartney\" target=\"_blank\" rel=\"noopener noreferrer\"> came to the show\u003c/a>. Even the popularity of the FX drama series \u003cem>The Americans\u003c/em>, which portrayed the Cold War through the eyes of KGB spies who felt just as righteous in their cause as Americans did in theirs, arguably continued this tradition of pop culture as pushing back against simplistic and antagonistic narratives of decades past.\u003c/p>\n\u003cp>And now all this.\u003c/p>\n\u003ch3>Even Levi’s has halted sales in Russia\u003c/h3>\n\u003cp>This severance of sometimes longstanding relationships isn’t only happening in the arts. It’s happening just as rapidly in sports, both in the real world and virtually. Russian athletes were barred from the Paralympic Games by the International Olympic Committee. FIFA has banned Russian teams from participating in its soccer matches. Russian teams have even been removed from the popular FIFA 22 video game, and may be removed from other games, too. President Vladimir Putin is seeing symbolic ties to sports withdrawn:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#international-judo-federation-strips-putin-of-his-honorary-titles\" target=\"_blank\" rel=\"noopener noreferrer\"> The International Judo Federation\u003c/a> stripped Putin of honorary titles in that sport, and World Taekwondo withdrew an honorary black belt.\u003c/p>\n\u003cp>[aside postid='arts_13909675']Businesses that one might paint into a mural representing American consumerism have been suspending business in Russia: McDonald’s, Coke, Pepsi, Starbucks, Disney. Wall Street saw its first big withdrawal when\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-03-10#goldman-sachs-is-the-1st-major-wall-street-bank-to-pull-out-of-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Goldman Sachs\u003c/a> stopped operating there, and while that’s an economic move, it feels culturally significant, too. Hollywood studios, major music companies, all ceasing business in Russia—there are even ramifications for sales of one of the items that has often been referenced as a go-to symbol of American cultural presence in other countries:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#levis-halts-sales-in-russia-evoking-cold-war-scrambles-for-blue-jeans\" target=\"_blank\" rel=\"noopener noreferrer\"> blue jeans\u003c/a>.\u003c/p>\n\u003ch3>The impact of cultural boycotts\u003c/h3>\n\u003cp>Does all this matter? It probably depends on what you mean by “matter.” \u003ca href=\"https://www.theatlantic.com/international/archive/2022/03/ukraine-russia-culture-boycott-putin/623873/\" target=\"_blank\" rel=\"noopener noreferrer\">As Yasmeen Serhan wrote in \u003cem>The Atlantic\u003c/em> earlier this month:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>“It’s easy to see cultural boycotts as more of a symbolic act than a serious threat to Moscow’s geopolitical standing. But by suspending Russia from the world’s largest sporting and cultural arenas, these institutions are sending a clear—and, for Putin, potentially damaging—message: If Russia acts beyond the bounds of the rules-based international order in Ukraine, it will be treated as an outsider by the rest of the world.”\u003c/p>\u003c/blockquote>\n\u003cp>The idea of culture and sports as stand-ins for the current political climate is obviously not new. I was an enthusiastic Olympics-watching kid during the boycott by the United States of the Moscow Summer Olympics in 1980 and the Soviet Union’s boycott of the Los Angeles Summer Olympics in 1984, both of which\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93334099\" target=\"_blank\" rel=\"noopener noreferrer\"> cost athletes dearly\u003c/a>, and both of which carried a heaviness, a sense of a hostile closed door that was consistent with the political rhetoric of the time. And in the last couple of years, the controversies around Russian athletes in the Olympics and the workaround under which sanctions for doping meant they couldn’t compete for Russia but only for the “Russian Olympic Committee” brought out some of the grumbling that has soured international competition in the past.\u003c/p>\n\u003cp>And it goes back much farther than that: In the documentary about his trip to Russia, Billy Joel says he was inspired to go partly because he remembered how important it felt to him when he was young and American pianist\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=87807262\" target=\"_blank\" rel=\"noopener noreferrer\"> Van Cliburn won\u003c/a> the International Tchaikovsky Competition in Moscow in 1958. Joel says in the film that the event, and Russia’s embrace of Cliburn, changed his own sense of the country and its people, whom he felt he’d been taught to fear.\u003c/p>\n\u003cfigure id=\"attachment_13910588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap290362078513_custom-4d83bf923b7ffd8c62022f550410d56d0a804b43-800x637.jpg\" alt=\"A young man, wearing a tuxedo, sits at a grand Steinway piano.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Pianist Van Cliburn performing in the final round of Tchaikovsky International Competition in Moscow in 1958. Cliburn’s triumph helped thaw the Cold War. \u003ccite>(AP Photo, file)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These crossovers of diplomacy and art can be fortuitous or commercial, but they can also be fully orchestrated by governments, and they can be complicated for the artists involved: the U.S. State Department\u003ca href=\"https://www.npr.org/2018/05/05/608802931/-the-jazz-ambassadors-cold-war-diplomacy-and-civil-rights-in-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> sent jazz musicians, including Dizzy Gillespie and Louis Armstrong\u003c/a>, around the world in the 1950s to present a positive image of the United States, even as the country utterly failed to treat them equally.\u003c/p>\n\u003cp>The world has always done this—used culture and sports to communicate over and past and through and around politics and aggression—and the question of how important that is, and how productive it is, recurs.\u003c/p>\n\u003cp>The efficacy of cultural sanctions certainly remains an open question; Serhan argues that because of the particular shape of his chosen image, Putin will be far more personally bothered and functionally threatened by sports sanctions than by ones in the arts. But she says this, too: “If ordinary Russians can no longer enjoy many of the activities they love, including things as quotidian as watching their soccer teams play in international matches, seeing the latest films, and enjoying live concerts, their tolerance for their government’s isolationist policies will diminish.”\u003c/p>\n\u003ch3>By now, Russians have gotten used to global connections\u003c/h3>\n\u003cp>If that’s so, it may turn out that openness—not just concerts in the 1980s, but the growing presence of Hollywood films and the vibrancy of international competition in sports—is not just a cyclical opposite of this period of retraction we’ve so rapidly entered, but a logical predecessor to it. The idea of depriving ordinary Russians, as Serhan says, of sports and Hollywood films and live concerts by international performers would not be a potent threat had they not come to expect access to those things in the first place.\u003c/p>\n\u003cp>[aside postid='arts_13910742']In other words, if bands weren’t going to Russia, if world sports leagues weren’t thriving, if Hollywood movies weren’t earning big money from big audiences in Russia, these arts and sports sanctions would be empty. If you’re not part of\u003cem> Eurovision\u003c/em>, you can’t be excluded from \u003cem>Eurovision\u003c/em>. If people don’t have expectations of a relatively open cultural and sports world, they can’t be disappointed.\u003c/p>\n\u003cp>But this is not the way this openness was pitched in the pop culture of the 1980s and 1990s, as something that might be withdrawn later as a result of an invasion; it was pitched as hope, as comity, and as perhaps a permanent realignment. And as a wildly naive teenager, I did find the idea that anyone could rock out at a concert transformative, capable of papering over what remained deep and troubling problems in world affairs that existed in both my own country and others. Even in 1987, Joel was asked whether he was afraid that his visit would be used as cover for human rights issues. His response, so familiar to people who have watched artists navigate these issues, was that he was not a politician.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=br1Ddw0tNAM\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There will likely be—there will hopefully be—at some time in the future, brought about by different conditions and an end to the war, another newsworthy return to Moscow for an American pop artist. There will be another reopening, another thaw in this cycle. The Gen-X kid in me, the one who remembers being sold hope in that way, anticipates this and will lean toward music and sports for signs of peace, even knowing it’s foolish. It isn’t that arts or sports are the important ties; it is that they are buoys that bob on the surface of world affairs, and when they move, in response to much greater forces underneath them, we notice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once%2C+cultural+ties+to+Russia+were+deliberate+and+hopeful.+Now%2C+they%27re+eroding&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a Gen-X kid, I have to admit there was particular poignancy to the news that, following the Russian invasion of Ukraine,\u003ca href=\"https://www.npr.org/2022/03/03/1084303033/hollywood-refuses-to-open-biggest-films-in-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Russia isn’t getting \u003cem>The Batman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It’s part of a much, much bigger and more important story, of course—several much, much bigger, much more important stories. NPR’s Anastasia Tsioulcas has reported on many \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2022/03/03/1084246378/arts-organizations-putin-supporters\" target=\"_blank\" rel=\"noopener noreferrer\">severed relationships in arts\u003c/a> in recent weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Most of these have been attributed not simply to being Russian in and of itself, but to ties to Putin, or to a refusal to repudiate him—and to funding that comes from the Russian government. Some artists have\u003ca href=\"https://www.npr.org/2022/02/28/1083496491/russian-performers-speak-out-putin-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> actively spoken against him\u003c/a> and against the invasion, but many have not. It’s in opera, it’s in classical concerts, but it’s affecting other things, too: Russia is \u003ca href=\"https://www.npr.org/2022/02/25/1083095335/eurovision-russia-banned\" target=\"_blank\" rel=\"noopener noreferrer\">not being permitted to participate in \u003cem>Eurovision\u003c/em>\u003c/a>, where it debuted in 1994. Western musicians have been\u003ca href=\"https://www.npr.org/2022/03/02/1083981946/live-nation-entertainment-is-ceasing-business-with-russia-and-acts-cancel-dates-\" target=\"_blank\" rel=\"noopener noreferrer\"> canceling Russian dates\u003c/a> ever since the war started. As Elizabeth Blair has reported,\u003ca href=\"https://www.npr.org/2022/03/01/1083694731/u-s-russian-cultural-organizations-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> Russian cultural organizations inside the U.S.\u003c/a> are anxious about possible effects on their own work.\u003c/p>\n\u003ch3>Connections to Russia were once optimistic\u003c/h3>\n\u003cp>These boycotts are perhaps even more jarring if you remember past periods in which pop culture tried to paint a picture of deliberate, optimistic, post-Cold-War thaw. In the 1980s, particularly in the wake of the policies of glasnost and perestroika in the former Soviet Union—which encouraged openness and reform—artists went to places they wouldn’t have gone ten or even five years before. It was in 1987, 35 years ago this July, that Billy Joel brought a big pop-rock show to Leningrad and Moscow; 1989 when Billy Crystal traveled to find his Russian relatives in an HBO special called \u003cem>Midnight Train to Moscow\u003c/em>. That year also brought the Moscow Music Peace Festival, with Ozzy Osbourne, Motley Crue, and Bon Jovi among the performers.\u003c/p>\n\u003cfigure id=\"attachment_13910586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap8908120226_custom-6b2dd48ee765ba6851550e657cdf4d6ea52753b6-800x563.jpg\" alt=\"An enthusiastic crowd sings along at a stadium concert, including one young woman on someone's shoulders, arms raised in joy.\" width=\"800\" height=\"563\">\u003cfigcaption class=\"wp-caption-text\">Bon Jovi, Motley Crue, and Ozzy Osbourne played at the Moscow Music Peace Festival in August, 1989. \u003ccite>(AP Photo/Robert Toning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, all these things were presented through a lens of, for lack of a better word, a goal of international—and intentional—\u003cem>friendship\u003c/em>. Joel’s bond with an enthusiastic fan and circus clown named Viktor became one of the centerpieces of the\u003ca href=\"https://www.imdb.com/title/tt0392424/\" target=\"_blank\" rel=\"noopener noreferrer\"> documentary\u003c/a> about his trip and the basis for a later song called “Leningrad.” (“We never knew what friends we had until we came to Leningrad.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Putin became president in 2000, some of these events continued. Paul McCartney played in Red Square in 2003 and met with Putin personally. Putin\u003ca href=\"https://www.theguardian.com/music/2003/dec/14/popandrock.paulmccartney\" target=\"_blank\" rel=\"noopener noreferrer\"> came to the show\u003c/a>. Even the popularity of the FX drama series \u003cem>The Americans\u003c/em>, which portrayed the Cold War through the eyes of KGB spies who felt just as righteous in their cause as Americans did in theirs, arguably continued this tradition of pop culture as pushing back against simplistic and antagonistic narratives of decades past.\u003c/p>\n\u003cp>And now all this.\u003c/p>\n\u003ch3>Even Levi’s has halted sales in Russia\u003c/h3>\n\u003cp>This severance of sometimes longstanding relationships isn’t only happening in the arts. It’s happening just as rapidly in sports, both in the real world and virtually. Russian athletes were barred from the Paralympic Games by the International Olympic Committee. FIFA has banned Russian teams from participating in its soccer matches. Russian teams have even been removed from the popular FIFA 22 video game, and may be removed from other games, too. President Vladimir Putin is seeing symbolic ties to sports withdrawn:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#international-judo-federation-strips-putin-of-his-honorary-titles\" target=\"_blank\" rel=\"noopener noreferrer\"> The International Judo Federation\u003c/a> stripped Putin of honorary titles in that sport, and World Taekwondo withdrew an honorary black belt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Businesses that one might paint into a mural representing American consumerism have been suspending business in Russia: McDonald’s, Coke, Pepsi, Starbucks, Disney. Wall Street saw its first big withdrawal when\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-03-10#goldman-sachs-is-the-1st-major-wall-street-bank-to-pull-out-of-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Goldman Sachs\u003c/a> stopped operating there, and while that’s an economic move, it feels culturally significant, too. Hollywood studios, major music companies, all ceasing business in Russia—there are even ramifications for sales of one of the items that has often been referenced as a go-to symbol of American cultural presence in other countries:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#levis-halts-sales-in-russia-evoking-cold-war-scrambles-for-blue-jeans\" target=\"_blank\" rel=\"noopener noreferrer\"> blue jeans\u003c/a>.\u003c/p>\n\u003ch3>The impact of cultural boycotts\u003c/h3>\n\u003cp>Does all this matter? It probably depends on what you mean by “matter.” \u003ca href=\"https://www.theatlantic.com/international/archive/2022/03/ukraine-russia-culture-boycott-putin/623873/\" target=\"_blank\" rel=\"noopener noreferrer\">As Yasmeen Serhan wrote in \u003cem>The Atlantic\u003c/em> earlier this month:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>“It’s easy to see cultural boycotts as more of a symbolic act than a serious threat to Moscow’s geopolitical standing. But by suspending Russia from the world’s largest sporting and cultural arenas, these institutions are sending a clear—and, for Putin, potentially damaging—message: If Russia acts beyond the bounds of the rules-based international order in Ukraine, it will be treated as an outsider by the rest of the world.”\u003c/p>\u003c/blockquote>\n\u003cp>The idea of culture and sports as stand-ins for the current political climate is obviously not new. I was an enthusiastic Olympics-watching kid during the boycott by the United States of the Moscow Summer Olympics in 1980 and the Soviet Union’s boycott of the Los Angeles Summer Olympics in 1984, both of which\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93334099\" target=\"_blank\" rel=\"noopener noreferrer\"> cost athletes dearly\u003c/a>, and both of which carried a heaviness, a sense of a hostile closed door that was consistent with the political rhetoric of the time. And in the last couple of years, the controversies around Russian athletes in the Olympics and the workaround under which sanctions for doping meant they couldn’t compete for Russia but only for the “Russian Olympic Committee” brought out some of the grumbling that has soured international competition in the past.\u003c/p>\n\u003cp>And it goes back much farther than that: In the documentary about his trip to Russia, Billy Joel says he was inspired to go partly because he remembered how important it felt to him when he was young and American pianist\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=87807262\" target=\"_blank\" rel=\"noopener noreferrer\"> Van Cliburn won\u003c/a> the International Tchaikovsky Competition in Moscow in 1958. Joel says in the film that the event, and Russia’s embrace of Cliburn, changed his own sense of the country and its people, whom he felt he’d been taught to fear.\u003c/p>\n\u003cfigure id=\"attachment_13910588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap290362078513_custom-4d83bf923b7ffd8c62022f550410d56d0a804b43-800x637.jpg\" alt=\"A young man, wearing a tuxedo, sits at a grand Steinway piano.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Pianist Van Cliburn performing in the final round of Tchaikovsky International Competition in Moscow in 1958. Cliburn’s triumph helped thaw the Cold War. \u003ccite>(AP Photo, file)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These crossovers of diplomacy and art can be fortuitous or commercial, but they can also be fully orchestrated by governments, and they can be complicated for the artists involved: the U.S. State Department\u003ca href=\"https://www.npr.org/2018/05/05/608802931/-the-jazz-ambassadors-cold-war-diplomacy-and-civil-rights-in-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> sent jazz musicians, including Dizzy Gillespie and Louis Armstrong\u003c/a>, around the world in the 1950s to present a positive image of the United States, even as the country utterly failed to treat them equally.\u003c/p>\n\u003cp>The world has always done this—used culture and sports to communicate over and past and through and around politics and aggression—and the question of how important that is, and how productive it is, recurs.\u003c/p>\n\u003cp>The efficacy of cultural sanctions certainly remains an open question; Serhan argues that because of the particular shape of his chosen image, Putin will be far more personally bothered and functionally threatened by sports sanctions than by ones in the arts. But she says this, too: “If ordinary Russians can no longer enjoy many of the activities they love, including things as quotidian as watching their soccer teams play in international matches, seeing the latest films, and enjoying live concerts, their tolerance for their government’s isolationist policies will diminish.”\u003c/p>\n\u003ch3>By now, Russians have gotten used to global connections\u003c/h3>\n\u003cp>If that’s so, it may turn out that openness—not just concerts in the 1980s, but the growing presence of Hollywood films and the vibrancy of international competition in sports—is not just a cyclical opposite of this period of retraction we’ve so rapidly entered, but a logical predecessor to it. The idea of depriving ordinary Russians, as Serhan says, of sports and Hollywood films and live concerts by international performers would not be a potent threat had they not come to expect access to those things in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In other words, if bands weren’t going to Russia, if world sports leagues weren’t thriving, if Hollywood movies weren’t earning big money from big audiences in Russia, these arts and sports sanctions would be empty. If you’re not part of\u003cem> Eurovision\u003c/em>, you can’t be excluded from \u003cem>Eurovision\u003c/em>. If people don’t have expectations of a relatively open cultural and sports world, they can’t be disappointed.\u003c/p>\n\u003cp>But this is not the way this openness was pitched in the pop culture of the 1980s and 1990s, as something that might be withdrawn later as a result of an invasion; it was pitched as hope, as comity, and as perhaps a permanent realignment. And as a wildly naive teenager, I did find the idea that anyone could rock out at a concert transformative, capable of papering over what remained deep and troubling problems in world affairs that existed in both my own country and others. Even in 1987, Joel was asked whether he was afraid that his visit would be used as cover for human rights issues. His response, so familiar to people who have watched artists navigate these issues, was that he was not a politician.\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/br1Ddw0tNAM'\n title='//www.youtube.com/embed/br1Ddw0tNAM'\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>There will likely be—there will hopefully be—at some time in the future, brought about by different conditions and an end to the war, another newsworthy return to Moscow for an American pop artist. There will be another reopening, another thaw in this cycle. The Gen-X kid in me, the one who remembers being sold hope in that way, anticipates this and will lean toward music and sports for signs of peace, even knowing it’s foolish. It isn’t that arts or sports are the important ties; it is that they are buoys that bob on the surface of world affairs, and when they move, in response to much greater forces underneath them, we notice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once%2C+cultural+ties+to+Russia+were+deliberate+and+hopeful.+Now%2C+they%27re+eroding&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back at the start of the pandemic, when San Francisco commenced its first stay at home order, I compiled a list of “\u003ca href=\"https://www.kqed.org/arts/13876876/6-entertaining-hotlines-to-soothe-your-dystopian-lockdown-nightmares\" target=\"_blank\" rel=\"noopener noreferrer\">hotlines to bling as the lockdown kicks in.\u003c/a>” (This feels like a good time to apologize for that part in the beginning where I very confidently stated that shelter in place was going to last three weeks… Ahem.) Now, as mask and vaccination mandates get lifted in the city—almost exactly two years to the day after the original shutdown—there’s a brand new phoneline to call when you’re trying not to bawl. It’s called Peptoc and it is an unfiltered joy provider.\u003c/p>\n\u003cp>Dreamed up by art teacher \u003ca href=\"https://www.instagram.com/jessicamartinart/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Martin\u003c/a> and artist \u003ca href=\"https://www.instagram.com/asherah.weiss/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Asherah Weiss\u003c/a>, the bilingual line is voiced by the charismatic students (ages 5-12) of \u003ca href=\"https://www.westsideusd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Side Elementary school\u003c/a> in Healdsburg. And they are just as adorable and inspiring as you might imagine.\u003c/p>\n\u003cp>Calling Peptoc on (707) 8-PEPTOC gives you five options:\u003c/p>\n\u003cp>Press one if you’re feeling, “mad, frustrated or nervous.” Here, callers will find excellent advice from students that encourages, among a wide array of options, pillow punching, ice cream consumption and trampolining. (Whether or not you attempt all three of these at once is entirely up to you.)\u003c/p>\n\u003cp>Press two if you, “need words of encouragement and life advice.” Callers here can enjoy messages about gratitude, happiness and self-belief. (Shout out to the kid who says “Bro! You’re looking great!”—it made my whole entire week.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Press three if you’re in need of a “pep talk from kindergartners.” This option, not unlike the kids themselves, is shorter but still sweet.\u003c/p>\n\u003cp>Press four to hear “kids laughing with delight.” Remember that thing I said earlier about unfiltered joy? Yeah. That.\u003c/p>\n\u003cp>Press five for “encouragement in Spanish.” Puedes hacerlo!\u003c/p>\n\u003cp>[aside postid='arts_13876876']Not only is Peptoc’s arrival perfectly timed to ease countless bouts of social anxiety, it’s already enormously popular. Since it launched on Feb. 26 as the offshoot of a project where kids made flyers with reassuring messages, Peptoc has racked up as many as 5,000 calls \u003cem>an hour. \u003c/em>That’s in part because word of its heart-warming properties has quickly spread around the world.\u003c/p>\n\u003cp>“I just heard back from a bunch of people from Argentina,” \u003ca href=\"https://www.goodmorningamerica.com/living/story/pep-talk-kindergartners-share-encouragement-joy-viral-hotline-83315079\" target=\"_blank\" rel=\"noopener noreferrer\">Martin told \u003cem>Good Morning America\u003c/em>\u003c/a>. “And it ranges from a whole cancer ward of patients getting chemotherapy, to a lady who just found out her mom was diagnosed with Alzheimer’s, to a fellow high school teacher just saying how incredible the project was. It’s touched a lot of people, so we’re pretty proud of these kids.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can reach Peptoc by calling (707) 873-7862 anytime. To donate to Weiss and Martin’s running costs, visit the Peptoc \u003ca href=\"https://www.gofundme.com/f/peptoc-hotline\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> page.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back at the start of the pandemic, when San Francisco commenced its first stay at home order, I compiled a list of “\u003ca href=\"https://www.kqed.org/arts/13876876/6-entertaining-hotlines-to-soothe-your-dystopian-lockdown-nightmares\" target=\"_blank\" rel=\"noopener noreferrer\">hotlines to bling as the lockdown kicks in.\u003c/a>” (This feels like a good time to apologize for that part in the beginning where I very confidently stated that shelter in place was going to last three weeks… Ahem.) Now, as mask and vaccination mandates get lifted in the city—almost exactly two years to the day after the original shutdown—there’s a brand new phoneline to call when you’re trying not to bawl. It’s called Peptoc and it is an unfiltered joy provider.\u003c/p>\n\u003cp>Dreamed up by art teacher \u003ca href=\"https://www.instagram.com/jessicamartinart/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Martin\u003c/a> and artist \u003ca href=\"https://www.instagram.com/asherah.weiss/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Asherah Weiss\u003c/a>, the bilingual line is voiced by the charismatic students (ages 5-12) of \u003ca href=\"https://www.westsideusd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Side Elementary school\u003c/a> in Healdsburg. And they are just as adorable and inspiring as you might imagine.\u003c/p>\n\u003cp>Calling Peptoc on (707) 8-PEPTOC gives you five options:\u003c/p>\n\u003cp>Press one if you’re feeling, “mad, frustrated or nervous.” Here, callers will find excellent advice from students that encourages, among a wide array of options, pillow punching, ice cream consumption and trampolining. (Whether or not you attempt all three of these at once is entirely up to you.)\u003c/p>\n\u003cp>Press two if you, “need words of encouragement and life advice.” Callers here can enjoy messages about gratitude, happiness and self-belief. (Shout out to the kid who says “Bro! You’re looking great!”—it made my whole entire week.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only is Peptoc’s arrival perfectly timed to ease countless bouts of social anxiety, it’s already enormously popular. Since it launched on Feb. 26 as the offshoot of a project where kids made flyers with reassuring messages, Peptoc has racked up as many as 5,000 calls \u003cem>an hour. \u003c/em>That’s in part because word of its heart-warming properties has quickly spread around the world.\u003c/p>\n\u003cp>“I just heard back from a bunch of people from Argentina,” \u003ca href=\"https://www.goodmorningamerica.com/living/story/pep-talk-kindergartners-share-encouragement-joy-viral-hotline-83315079\" target=\"_blank\" rel=\"noopener noreferrer\">Martin told \u003cem>Good Morning America\u003c/em>\u003c/a>. “And it ranges from a whole cancer ward of patients getting chemotherapy, to a lady who just found out her mom was diagnosed with Alzheimer’s, to a fellow high school teacher just saying how incredible the project was. It’s touched a lot of people, so we’re pretty proud of these kids.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can reach Peptoc by calling (707) 873-7862 anytime. To donate to Weiss and Martin’s running costs, visit the Peptoc \u003ca href=\"https://www.gofundme.com/f/peptoc-hotline\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> page.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Emilio Delgado, the Mexican American actor who played the character Luis on \u003cem>Sesame Street\u003c/em> for 40 years, died Thursday at his home in New York City after a battle with blood cancer. Delgado was 81.\u003c/p>\n\u003cp>Delgado died surrounded by family, according to his wife Carol, who spoke with \u003ca href=\"https://www.tmz.com/2022/03/10/sesame-street-actor-emilio-delgado-luis-dead-dies/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>. Delago had been diagnosed with multiple myeloma in December 2020, and recently was in hospice care. \u003c/p>\n\u003cp>[aside postID='arts_11867386']Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \u003c/p>\n\u003cp>https://youtu.be/QxOft5QZjDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \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/QxOft5QZjDI'\n title='//www.youtube.com/embed/QxOft5QZjDI'\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>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Evan Rachel Wood Bares Her Scars in New Documentary About Marilyn Manson",
"headTitle": "Evan Rachel Wood Bares Her Scars in New Documentary About Marilyn Manson | KQED",
"content": "\u003cp>All domestic violence survivors face questions about why they failed to speak up or leave sooner. But for the women who’ve accused Marilyn Manson of a litany of physical, mental and sexual abuse—and there are \u003ca href=\"https://www.billboard.com/music/music-news/timeline-abuse-allegations-marilyn-manson-9523386/\" target=\"_blank\" rel=\"noopener noreferrer\">at least a dozen of them now\u003c/a>—there’s an extra hurdle. They’re also expected to explain what they were doing with him in the first place.\u003c/p>\n\u003cp>Before I sat down and watched Evan Rachel Wood’s agonizing new two-part documentary about her relationship with Manson, I already knew the answer to that question. For the entirety of Wood’s four-and-a-half-year relationship with Manson, I worked for a magazine that was one of Manson’s earliest and most fervent supporters. When I started that job, I thought Manson was corny and cliché. By the time I’d left, I believed him to be an artist and social commentator deserving of the world’s respect. I know first-hand that the cult of Marilyn Manson is powerful and convincing, and if one so much as brushes up against it, it’s extraordinarily easy to get sucked into.\u003c/p>\n\u003cp>[aside postid='arts_13892056']Evan Rachel Wood does a masterful job of describing that phenomenon in \u003cem>Phoenix Rising\u003c/em>. She explains that, to his fans and inner circle, Manson isn’t just another shock-rocker, but an intellectual artist who holds a mirror up to society. He’s an icon who gives lost children a safe place to go. He is one of the good guys, dressed up like a bad guy because that’s his artistic vision. And then she spends two and a half hours demonstrating what a bunch of bullshit it all is.\u003c/p>\n\u003cp>Wood also vividly explains why she was the perfect target for Manson. She provides intimate details of her family background, her turbulent teen years and the grooming she experienced. She was 18 and adjusting to fame when they met; he was 37 and still married. These details do an excellent job contextualizing how and why Wood’s relationship with Manson started in the first place, something she has been asked repeatedly to explain. They also show how the appeal of Marilyn Manson works—an essential thing to grasp if the world at large is ever going to understand survivors’ stories.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xJz2zwVogHM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wood has already gone on the record, repeatedly, about what happened behind closed doors during the relationship from mid-2006 and early 2011. But nothing yet publicly discussed can fully prepare one for the harrowing details she shares in \u003cem>Phoenix Rising\u003c/em>. She describes rape, scarification, antisemitic abuse (Wood is Jewish), beatings and druggings at Manson’s hands, along with restrictions around what she ate, how long she slept, what she wore and who she saw. (When fellow Manson survivors appear, their stories are equally disturbing.) Wood also talks plainly about an abortion and a suicide attempt directly relating to her time with Manson. None of this—absolutely none of it—is for the faint of heart.\u003c/p>\n\u003cp>[aside postid='arts_13883598']It’s impossible to fathom where Wood found the strength to put this documentary out into the world. Especially when it so clearly shows her still processing everything that’s happened. In one moment we see Wood standing her ground as an empowered and determined activist, trying to make a difference for women everywhere. In the next, we see her caught off-guard, shaking or sobbing as a sound or a piece of evidence hurls her back into her past. \u003c/p>\n\u003cp>Nowhere is the schism in Wood’s daily existence clearer than in a scene in which she collapses into violent sobs after \u003ca href=\"https://www.vulture.com/2019/10/evan-rachel-woods-domestic-violence-bill-signed-into-law.html\" target=\"_blank\" rel=\"noopener noreferrer\">successfully extending the statute of limitations for domestic violence\u003c/a> in California. In the courtroom, she is a stoic warrior. Outside its doors, she resembles a broken child. Understanding that the former wouldn’t exist without the latter is painful to witness.\u003c/p>\n\u003cp>Wood uses the word “scared” in \u003cem>Phoenix Rising\u003c/em> more than she probably realizes, and more than I could count. And in giving us access to her day-to-day life, Wood also gives the viewer a glimpse of the lingering terror and insecurity with which all survivors of domestic violence continue to live. When authorities begin building a case against Manson, for example, we see Wood flee her home for a secret, safer location. (You have to wonder: What about the women who don’t have somewhere else to go?) We see her and fellow activist Illma Gore moving boxes of evidence to avoid detection by Manson. At one point she explains that Manson has “made it clear that if I ever said anything, he would come after me. He once said he would fuck up my whole family and … he would start with my dad.”\u003c/p>\n\u003cfigure id=\"attachment_13910206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910206\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/manson-abuse-800x713.png\" alt=\"\" width=\"800\" height=\"713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-800x713.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1020x909.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-160x143.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-768x684.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1536x1368.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1920x1710.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse.png 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Evan Rachel Wood, painted by Marilyn Manson, after it’s been used during a therapeutic exercise by Wood. In ‘Phoenix Rising,’ we see her write the list of abuses she says she was subjected to by Marilyn Manson on the portrait in black marker. The words include: raped, beaten, drugged, starved, branded and stalked. \u003ccite>('Phoenix Rising'/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s excruciating to watch Wood describe how Manson’s power as both an icon and an employer prevented numerous bystanders from intervening to assist her and, presumably, the women who came after her. At one point, Wood says Manson flew into a violent rage on tour, and physically dragged her into a hotel room against her will. Wood says a trusted crew member—someone she considered a friend—watched this happen and looked the other way, even as she pleaded for help.\u003c/p>\n\u003cp>The scars from such incidents are so deep that when witnesses admit in the documentary that they were aware of the alleged abuse as it was happening, Wood’s reaction is not one of anger. Rather, she’s palpably relieved to finally have her story corroborated. When one of Manson’s former assistants, Dan Cleary, \u003ca href=\"https://twitter.com/dancleary79/status/1304976908489076739?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">speaks up on Twitter\u003c/a> to back up Wood’s version of events—and the stories of other Manson survivors he knew—she weeps to finally have someone from Manson’s inner circle in her corner. (Cleary appears in \u003cem>Phoenix Rising\u003c/em> at a meeting of survivors.) When crew members from Manson’s infamous “Heart Shaped Glasses” music video come forward to state that Wood was abused on set, she screams “Yes!” even while visibly shaken.\u003c/p>\n\u003cp>[aside postid='arts_13908728']One of the more surprising elements of \u003cem>Phoenix Rising\u003c/em> is the amount of empathy afforded to Brian Warner—the person Manson was before the creation of his famous alter ego. Warner’s background with a violent father, mentally ill mother and years of bullying by peers is presented respectfully in the first episode. (“There’s no doubt in my mind that he was severely abused,” Wood notes at one point.) Warner’s own traumatic background is presented as a factor in the controlling, racist and abusive person Wood describes. (Excerpts from Manson’s 1998 autobiography, \u003cem>The Long Hard Road Out of Hell\u003c/em>, are used here to demonstrate his awareness of that transformation, as well as his lack of remorse about his violent treatment of women.)\u003c/p>\n\u003cp>On March 2, before \u003cem>Phoenix Rising\u003c/em>’s release, Manson sued Wood and activist Illma Gore for “\u003ca href=\"https://apnews.com/article/entertainment-arts-and-entertainment-media-lawsuits-sexual-abuse-97b5bc35a7e957adf087efb065dc004d\" target=\"_blank\" rel=\"noopener noreferrer\">defamation and intentional infliction of emotional distress\u003c/a>,” as well as damage to his career. He is also requesting a jury trial. The timing is, in all likelihood, designed to coincide with the premiere of \u003cem>Phoenix Rising\u003c/em>, and an attempt to undercut its content. \u003c/p>\n\u003cp>After watching the documentary, I don’t believe for a moment that he will be successful. \u003cem>Phoenix Rising\u003c/em> is an exercise in literally and figuratively building the case against Manson. Even in its smallest details, it never once loses its focus on the big picture. And that picture, by the end, is more monstrous than anything Marilyn Manson ever created on stage or in a studio.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Phoenix Rising’ premieres Tuesday, March 15 on HBO.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All domestic violence survivors face questions about why they failed to speak up or leave sooner. But for the women who’ve accused Marilyn Manson of a litany of physical, mental and sexual abuse—and there are \u003ca href=\"https://www.billboard.com/music/music-news/timeline-abuse-allegations-marilyn-manson-9523386/\" target=\"_blank\" rel=\"noopener noreferrer\">at least a dozen of them now\u003c/a>—there’s an extra hurdle. They’re also expected to explain what they were doing with him in the first place.\u003c/p>\n\u003cp>Before I sat down and watched Evan Rachel Wood’s agonizing new two-part documentary about her relationship with Manson, I already knew the answer to that question. For the entirety of Wood’s four-and-a-half-year relationship with Manson, I worked for a magazine that was one of Manson’s earliest and most fervent supporters. When I started that job, I thought Manson was corny and cliché. By the time I’d left, I believed him to be an artist and social commentator deserving of the world’s respect. I know first-hand that the cult of Marilyn Manson is powerful and convincing, and if one so much as brushes up against it, it’s extraordinarily easy to get sucked into.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Evan Rachel Wood does a masterful job of describing that phenomenon in \u003cem>Phoenix Rising\u003c/em>. She explains that, to his fans and inner circle, Manson isn’t just another shock-rocker, but an intellectual artist who holds a mirror up to society. He’s an icon who gives lost children a safe place to go. He is one of the good guys, dressed up like a bad guy because that’s his artistic vision. And then she spends two and a half hours demonstrating what a bunch of bullshit it all is.\u003c/p>\n\u003cp>Wood also vividly explains why she was the perfect target for Manson. She provides intimate details of her family background, her turbulent teen years and the grooming she experienced. She was 18 and adjusting to fame when they met; he was 37 and still married. These details do an excellent job contextualizing how and why Wood’s relationship with Manson started in the first place, something she has been asked repeatedly to explain. They also show how the appeal of Marilyn Manson works—an essential thing to grasp if the world at large is ever going to understand survivors’ stories.\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/xJz2zwVogHM'\n title='//www.youtube.com/embed/xJz2zwVogHM'\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>Wood has already gone on the record, repeatedly, about what happened behind closed doors during the relationship from mid-2006 and early 2011. But nothing yet publicly discussed can fully prepare one for the harrowing details she shares in \u003cem>Phoenix Rising\u003c/em>. She describes rape, scarification, antisemitic abuse (Wood is Jewish), beatings and druggings at Manson’s hands, along with restrictions around what she ate, how long she slept, what she wore and who she saw. (When fellow Manson survivors appear, their stories are equally disturbing.) Wood also talks plainly about an abortion and a suicide attempt directly relating to her time with Manson. None of this—absolutely none of it—is for the faint of heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s impossible to fathom where Wood found the strength to put this documentary out into the world. Especially when it so clearly shows her still processing everything that’s happened. In one moment we see Wood standing her ground as an empowered and determined activist, trying to make a difference for women everywhere. In the next, we see her caught off-guard, shaking or sobbing as a sound or a piece of evidence hurls her back into her past. \u003c/p>\n\u003cp>Nowhere is the schism in Wood’s daily existence clearer than in a scene in which she collapses into violent sobs after \u003ca href=\"https://www.vulture.com/2019/10/evan-rachel-woods-domestic-violence-bill-signed-into-law.html\" target=\"_blank\" rel=\"noopener noreferrer\">successfully extending the statute of limitations for domestic violence\u003c/a> in California. In the courtroom, she is a stoic warrior. Outside its doors, she resembles a broken child. Understanding that the former wouldn’t exist without the latter is painful to witness.\u003c/p>\n\u003cp>Wood uses the word “scared” in \u003cem>Phoenix Rising\u003c/em> more than she probably realizes, and more than I could count. And in giving us access to her day-to-day life, Wood also gives the viewer a glimpse of the lingering terror and insecurity with which all survivors of domestic violence continue to live. When authorities begin building a case against Manson, for example, we see Wood flee her home for a secret, safer location. (You have to wonder: What about the women who don’t have somewhere else to go?) We see her and fellow activist Illma Gore moving boxes of evidence to avoid detection by Manson. At one point she explains that Manson has “made it clear that if I ever said anything, he would come after me. He once said he would fuck up my whole family and … he would start with my dad.”\u003c/p>\n\u003cfigure id=\"attachment_13910206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910206\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/manson-abuse-800x713.png\" alt=\"\" width=\"800\" height=\"713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-800x713.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1020x909.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-160x143.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-768x684.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1536x1368.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1920x1710.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse.png 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Evan Rachel Wood, painted by Marilyn Manson, after it’s been used during a therapeutic exercise by Wood. In ‘Phoenix Rising,’ we see her write the list of abuses she says she was subjected to by Marilyn Manson on the portrait in black marker. The words include: raped, beaten, drugged, starved, branded and stalked. \u003ccite>('Phoenix Rising'/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s excruciating to watch Wood describe how Manson’s power as both an icon and an employer prevented numerous bystanders from intervening to assist her and, presumably, the women who came after her. At one point, Wood says Manson flew into a violent rage on tour, and physically dragged her into a hotel room against her will. Wood says a trusted crew member—someone she considered a friend—watched this happen and looked the other way, even as she pleaded for help.\u003c/p>\n\u003cp>The scars from such incidents are so deep that when witnesses admit in the documentary that they were aware of the alleged abuse as it was happening, Wood’s reaction is not one of anger. Rather, she’s palpably relieved to finally have her story corroborated. When one of Manson’s former assistants, Dan Cleary, \u003ca href=\"https://twitter.com/dancleary79/status/1304976908489076739?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">speaks up on Twitter\u003c/a> to back up Wood’s version of events—and the stories of other Manson survivors he knew—she weeps to finally have someone from Manson’s inner circle in her corner. (Cleary appears in \u003cem>Phoenix Rising\u003c/em> at a meeting of survivors.) When crew members from Manson’s infamous “Heart Shaped Glasses” music video come forward to state that Wood was abused on set, she screams “Yes!” even while visibly shaken.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the more surprising elements of \u003cem>Phoenix Rising\u003c/em> is the amount of empathy afforded to Brian Warner—the person Manson was before the creation of his famous alter ego. Warner’s background with a violent father, mentally ill mother and years of bullying by peers is presented respectfully in the first episode. (“There’s no doubt in my mind that he was severely abused,” Wood notes at one point.) Warner’s own traumatic background is presented as a factor in the controlling, racist and abusive person Wood describes. (Excerpts from Manson’s 1998 autobiography, \u003cem>The Long Hard Road Out of Hell\u003c/em>, are used here to demonstrate his awareness of that transformation, as well as his lack of remorse about his violent treatment of women.)\u003c/p>\n\u003cp>On March 2, before \u003cem>Phoenix Rising\u003c/em>’s release, Manson sued Wood and activist Illma Gore for “\u003ca href=\"https://apnews.com/article/entertainment-arts-and-entertainment-media-lawsuits-sexual-abuse-97b5bc35a7e957adf087efb065dc004d\" target=\"_blank\" rel=\"noopener noreferrer\">defamation and intentional infliction of emotional distress\u003c/a>,” as well as damage to his career. He is also requesting a jury trial. The timing is, in all likelihood, designed to coincide with the premiere of \u003cem>Phoenix Rising\u003c/em>, and an attempt to undercut its content. \u003c/p>\n\u003cp>After watching the documentary, I don’t believe for a moment that he will be successful. \u003cem>Phoenix Rising\u003c/em> is an exercise in literally and figuratively building the case against Manson. Even in its smallest details, it never once loses its focus on the big picture. And that picture, by the end, is more monstrous than anything Marilyn Manson ever created on stage or in a studio.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Phoenix Rising’ premieres Tuesday, March 15 on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Reading Rainbow' is Getting a Reboot Without LeVar Burton",
"headTitle": "‘Reading Rainbow’ is Getting a Reboot Without LeVar Burton | KQED",
"content": "\u003cp>\u003cem>Reading Rainbow\u003c/em> is about to get a reboot tailored to a generation of kids who rarely get their entertainment from broadcast TV. Streaming live this Sunday on the platform Looped, \u003cem>Reading Rainbow Live \u003c/em>is described as an interactive “event” full of music, dancing and games.\u003c/p>\n\u003cp>One glaring omission: LeVar Burton who helped make the brand famous.\u003c/p>\n\u003cp>“Butterflies in the sky…” was the musical cue for young fans that another episode of the original \u003cem>Reading Rainbow \u003c/em>was about to start\u003cem>.\u003c/em> Beginning in 1983, the PBS series was on the air for more than 20 years, winning multiple Emmys and a Peabody Award.\u003c/p>\n\u003cfigure id=\"attachment_13910145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/rrl-logo2-bkgnd-1a706b53fdd64209fc4e69d4f31f24db8fcb765d-800x600.png\" alt=\"The Reading Rainbow logo shows an open book with a rainbow behind it.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The producers behind the original ‘Reading Rainbow’ are launching a new, live “event” on the streaming platform Looped on Sunday. \u003ccite>(Monica Foley with support from Christopher Hyzy/Courtesy of Reading Rainbow Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time around, \u003ca href=\"https://readingrainbowlive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Reading Rainbow Live\u003c/em>\u003c/a> will be hosted by a handful of 20 somethings, dubbed \u003ca href=\"https://readingrainbowlive.com/the-rainbows/\" target=\"_blank\" rel=\"noopener noreferrer\">The Rainbows\u003c/a>. Creative director Amy Guglielmo says young viewers will be able to interact with the cast. “We have an opportunity through Looped to have kids pop in from home, sort of like a souped up Zoom party,” she says.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Sunday’s event is produced by Buffalo Toronto Public Media, the umbrella for WNED, the same PBS station behind the original. Executive Vice President Nancy Hammond says this reboot will not be broadcast. “Kids generally don’t sit down in front of a television to watch TV at an appointed time,” says Hammond, “Kids are watching content on mobile devices. They’re streaming it on their tablets.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meeting kids where they are is something LeVar Burton understood a decade ago. After the TV show was canceled, Burton signed a licensing agreement with WNED to develop digital products for the \u003cem>Reading Rainbow \u003c/em>brand. Through his company RRKidz, he launched the \u003cem>Reading Rainbow\u003c/em> \u003ca href=\"https://bestmobileappawards.com/app-submission/reading-rainbow-app#:~:text=FREE%20to%20try%2C%20the%20all,customized%20to%20your%20child's%20interests.\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a>. Then he began a Kickstarter \u003ca href=\"https://www.kickstarter.com/projects/readingrainbow/bring-reading-rainbow-back-for-every-child-everywh\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> under the banner “Bring Reading Rainbow Back.” Within 24 hours the campaign reached its goal of $1 million. At the time, it was the most \u003ca href=\"http://bit.ly/1iNlLzV\" target=\"_blank\" rel=\"noopener noreferrer\">backed\u003c/a> Kickstarter campaign ever. It ended up raising more than $5 million.\u003c/p>\n\u003cfigure id=\"attachment_13910144\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gettyimages-484545383_custom-d51ca0b423c8aeb1fe7e4b027e9ce23fcfe7be6c-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">LeVar Burton participates in storybook readings during an announcement of Disney Junior’s “Give A Book, Get A Book” program. \u003ccite>(Todd Wawrychuk/Disney Junior via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Kickstarter campaign’s FAQ, Burton wrote that the extra money raised would bring \u003cem>Reading Rainbow\u003c/em> to more kids: “And no matter how much the Kickstarter raises, ALL of the money will be spent on the same two goals: making Reading Rainbow accessible EVERYWHERE (on as many platforms and devices as possible), and to EVERY CHILD (by providing free subscriptions to US/Canadian classrooms that can’t afford it).”\u003c/p>\n\u003cp>[aside postid='arts_13894928']But the folks at WNED did \u003ca href=\"https://current.org/wp-content/uploads/2016/03/WNED-letter-August-2015.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">not\u003c/a> share Burton’s excitement. They sued him, alleging contract and trademark violations. They said he created new \u003cem>Reading Rainbow\u003c/em> episodes and talked to Netflix without their permission. They even took issue with the fact that he was still using the catch phrase, “But, you don’t have to take my word for it.”\u003c/p>\n\u003cp>After a couple of years of bitter legal battles, the parties \u003ca href=\"https://current.org/2017/10/wned-and-levar-burton-terminate-licensing-deal-for-reading-rainbow/\" target=\"_blank\" rel=\"noopener noreferrer\">settled\u003c/a>. Burton changed the name of his company to LeVar Burton Kids.\u003c/p>\n\u003cp>It’s not clear how all of the Kickstarter money has been used. Burton started \u003ca href=\"https://www.skybrary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Skybrary\u003c/a>, a digital library of books and videos which today is operated by the nonprofit Reading Is Fundamental. And he’s got a podcast called \u003ca href=\"https://www.levarburtonpodcast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LeVar Burton Reads\u003c/a>. Burton declined to be interviewed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meantime, WNED is set to bring \u003cem>Reading Rainbow Live\u003c/em> to a new generation with a new cast, a new theme song and a new platform.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reading+Rainbow%27+is+getting+a+reboot+but+without+LeVar+Burton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Reading Rainbow\u003c/em> is about to get a reboot tailored to a generation of kids who rarely get their entertainment from broadcast TV. Streaming live this Sunday on the platform Looped, \u003cem>Reading Rainbow Live \u003c/em>is described as an interactive “event” full of music, dancing and games.\u003c/p>\n\u003cp>One glaring omission: LeVar Burton who helped make the brand famous.\u003c/p>\n\u003cp>“Butterflies in the sky…” was the musical cue for young fans that another episode of the original \u003cem>Reading Rainbow \u003c/em>was about to start\u003cem>.\u003c/em> Beginning in 1983, the PBS series was on the air for more than 20 years, winning multiple Emmys and a Peabody Award.\u003c/p>\n\u003cfigure id=\"attachment_13910145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/rrl-logo2-bkgnd-1a706b53fdd64209fc4e69d4f31f24db8fcb765d-800x600.png\" alt=\"The Reading Rainbow logo shows an open book with a rainbow behind it.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The producers behind the original ‘Reading Rainbow’ are launching a new, live “event” on the streaming platform Looped on Sunday. \u003ccite>(Monica Foley with support from Christopher Hyzy/Courtesy of Reading Rainbow Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time around, \u003ca href=\"https://readingrainbowlive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Reading Rainbow Live\u003c/em>\u003c/a> will be hosted by a handful of 20 somethings, dubbed \u003ca href=\"https://readingrainbowlive.com/the-rainbows/\" target=\"_blank\" rel=\"noopener noreferrer\">The Rainbows\u003c/a>. Creative director Amy Guglielmo says young viewers will be able to interact with the cast. “We have an opportunity through Looped to have kids pop in from home, sort of like a souped up Zoom party,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sunday’s event is produced by Buffalo Toronto Public Media, the umbrella for WNED, the same PBS station behind the original. Executive Vice President Nancy Hammond says this reboot will not be broadcast. “Kids generally don’t sit down in front of a television to watch TV at an appointed time,” says Hammond, “Kids are watching content on mobile devices. They’re streaming it on their tablets.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meeting kids where they are is something LeVar Burton understood a decade ago. After the TV show was canceled, Burton signed a licensing agreement with WNED to develop digital products for the \u003cem>Reading Rainbow \u003c/em>brand. Through his company RRKidz, he launched the \u003cem>Reading Rainbow\u003c/em> \u003ca href=\"https://bestmobileappawards.com/app-submission/reading-rainbow-app#:~:text=FREE%20to%20try%2C%20the%20all,customized%20to%20your%20child's%20interests.\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a>. Then he began a Kickstarter \u003ca href=\"https://www.kickstarter.com/projects/readingrainbow/bring-reading-rainbow-back-for-every-child-everywh\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> under the banner “Bring Reading Rainbow Back.” Within 24 hours the campaign reached its goal of $1 million. At the time, it was the most \u003ca href=\"http://bit.ly/1iNlLzV\" target=\"_blank\" rel=\"noopener noreferrer\">backed\u003c/a> Kickstarter campaign ever. It ended up raising more than $5 million.\u003c/p>\n\u003cfigure id=\"attachment_13910144\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gettyimages-484545383_custom-d51ca0b423c8aeb1fe7e4b027e9ce23fcfe7be6c-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">LeVar Burton participates in storybook readings during an announcement of Disney Junior’s “Give A Book, Get A Book” program. \u003ccite>(Todd Wawrychuk/Disney Junior via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Kickstarter campaign’s FAQ, Burton wrote that the extra money raised would bring \u003cem>Reading Rainbow\u003c/em> to more kids: “And no matter how much the Kickstarter raises, ALL of the money will be spent on the same two goals: making Reading Rainbow accessible EVERYWHERE (on as many platforms and devices as possible), and to EVERY CHILD (by providing free subscriptions to US/Canadian classrooms that can’t afford it).”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the folks at WNED did \u003ca href=\"https://current.org/wp-content/uploads/2016/03/WNED-letter-August-2015.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">not\u003c/a> share Burton’s excitement. They sued him, alleging contract and trademark violations. They said he created new \u003cem>Reading Rainbow\u003c/em> episodes and talked to Netflix without their permission. They even took issue with the fact that he was still using the catch phrase, “But, you don’t have to take my word for it.”\u003c/p>\n\u003cp>After a couple of years of bitter legal battles, the parties \u003ca href=\"https://current.org/2017/10/wned-and-levar-burton-terminate-licensing-deal-for-reading-rainbow/\" target=\"_blank\" rel=\"noopener noreferrer\">settled\u003c/a>. Burton changed the name of his company to LeVar Burton Kids.\u003c/p>\n\u003cp>It’s not clear how all of the Kickstarter money has been used. Burton started \u003ca href=\"https://www.skybrary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Skybrary\u003c/a>, a digital library of books and videos which today is operated by the nonprofit Reading Is Fundamental. And he’s got a podcast called \u003ca href=\"https://www.levarburtonpodcast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LeVar Burton Reads\u003c/a>. Burton declined to be interviewed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meantime, WNED is set to bring \u003cem>Reading Rainbow Live\u003c/em> to a new generation with a new cast, a new theme song and a new platform.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reading+Rainbow%27+is+getting+a+reboot+but+without+LeVar+Burton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In HBO’s ‘Winning Time,’ The Lakers Are Underdogs on Their Way to Greatness",
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"content": "\u003cp>With 17 championship victories since 1949, the Lakers are to the NBA what the Dallas Cowboys are to the NFL: America’s team.\u003c/p>\n\u003cp>But HBO’s new dramatic miniseries \u003ci>Winning Time: The Rise of the Lakers Dynasty\u003c/i> takes us back to a time before the Lakers were loved (and hated) the world over. This was before basketball was “hip, young, and sexy,” as legendary Lakers owner Dr. Jerry Buss (played by John C. Reilly) puts it at the beginning of the first episode.\u003c/p>\n\u003cp>Premiering on March 6, \u003ci>Winning Time\u003c/i> begins in 1979, when the music was great and the haircuts were terrible. Directed by executive producer Adam McKay, the pilot has a vintage look to it, like it was shot on film\u003ci>\u003cspan style=\"font-weight: 400\">—\u003c/span>\u003c/i>grainy frames and all. The style works well with the sparkly, smoke-filled aesthetic of Los Angeles at the turn of the decade. \u003ci>Winning Time\u003c/i> has a lot of the trappings of McKay’s other darkly comedic work dealing with real-world plots, such as \u003ci>Vice\u003c/i> and \u003ci>The Big Short\u003c/i>. Buss often breaks the fourth wall, and McKay lavishes the viewer with stylized montages of real-life historical context. His unconventional approach works well to explain the rise of the NBA and the Lakers to their current heights.\u003c/p>\n\u003cp>https://youtu.be/WqbWwKx1nBU\u003c/p>\n\u003cp>The central plot of the pilot revolves around Buss raising the funds to buy the Lakers from the previous team owner while Magic Johnson (Quincy Isaiah) decides whether to enter the NBA draft or return to college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two main characters have great chemistry. Reilly is the freewheeling, ever-optimistic Buss, who compares basketball to great sex: “It’s always moving, it’s rhythmic, it’s up close and personal.” And Isaiah is a wide-eyed, smooth-talking Johnson, who isn’t quite “Magic” yet, though he already has the signature smile.\u003c/p>\n\u003cp>It’s Isaiah’s performance as the basketball legend that anchors the show and lends it some of it’s more meaningful moments. Despite his confident demeanor, you can tell the 19-year-old Magic is insecure as he contemplates how much his life will change if he goes pro. \u003ci>Winning Time\u003c/i>’s pilot has a lot to comment on when it comes to how race, class and gender intersected at this formative time in the NBA’s history, when the association was in danger of going bankrupt. However, the show doesn’t take itself too seriously, and there are plenty of funny moments provided by a tightly-written script. A scene that pokes fun at the racially coded language used to compare Magic to his rival and friend Larry Bird stands out, and the antics of the hot-headed Lakers head coach Jerry West (Jason Clarke) are appropriately petulant. [aside postid='arts_13910010']\u003c/p>\n\u003cp>The episode moves right along, like the Showtime Lakers on a fast break, making the hour-long runtime feel almost too short. You don’t have to be a basketball fan to enjoy this show. Magic’s story has classic fish-out-of-water and coming-of-age story elements as the budding star navigates anxieties and fears surrounding the prospect of fame.\u003c/p>\n\u003cp>The show promises a stylized glimpse into ’80s Hollywood, with portrayals of Paula Abdul (Carina Conti), Jack Nicholson (Max E. Williams) and Richard Pryor (Mike Epps) still to come. It will be interesting to see how \u003ci>Winning Time\u003c/i> handles the portrayal of Magic’s AIDS diagnosis in 1991, and to witness how this early version of Magic evolves into the man who became the face of the Lakers franchise.\u003c/p>\n\u003cp>This is ultimately a show about a player, an organization—a whole sport, even—on the verge of greatness. After the first episode, it feels like \u003ci>Winning Time\u003c/i> itself may also be on the verge of something big.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winning Time\u003cem> premieres Sunday, March 6 at 9pm with subsequent episodes airing every Sunday on HBO Max.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two main characters have great chemistry. Reilly is the freewheeling, ever-optimistic Buss, who compares basketball to great sex: “It’s always moving, it’s rhythmic, it’s up close and personal.” And Isaiah is a wide-eyed, smooth-talking Johnson, who isn’t quite “Magic” yet, though he already has the signature smile.\u003c/p>\n\u003cp>It’s Isaiah’s performance as the basketball legend that anchors the show and lends it some of it’s more meaningful moments. Despite his confident demeanor, you can tell the 19-year-old Magic is insecure as he contemplates how much his life will change if he goes pro. \u003ci>Winning Time\u003c/i>’s pilot has a lot to comment on when it comes to how race, class and gender intersected at this formative time in the NBA’s history, when the association was in danger of going bankrupt. However, the show doesn’t take itself too seriously, and there are plenty of funny moments provided by a tightly-written script. A scene that pokes fun at the racially coded language used to compare Magic to his rival and friend Larry Bird stands out, and the antics of the hot-headed Lakers head coach Jerry West (Jason Clarke) are appropriately petulant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The episode moves right along, like the Showtime Lakers on a fast break, making the hour-long runtime feel almost too short. You don’t have to be a basketball fan to enjoy this show. Magic’s story has classic fish-out-of-water and coming-of-age story elements as the budding star navigates anxieties and fears surrounding the prospect of fame.\u003c/p>\n\u003cp>The show promises a stylized glimpse into ’80s Hollywood, with portrayals of Paula Abdul (Carina Conti), Jack Nicholson (Max E. Williams) and Richard Pryor (Mike Epps) still to come. It will be interesting to see how \u003ci>Winning Time\u003c/i> handles the portrayal of Magic’s AIDS diagnosis in 1991, and to witness how this early version of Magic evolves into the man who became the face of the Lakers franchise.\u003c/p>\n\u003cp>This is ultimately a show about a player, an organization—a whole sport, even—on the verge of greatness. After the first episode, it feels like \u003ci>Winning Time\u003c/i> itself may also be on the verge of something big.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winning Time\u003cem> premieres Sunday, March 6 at 9pm with subsequent episodes airing every Sunday on HBO Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The terrible news broke on Monday. “We believe that Annie has either been displaced from the territory, is injured or dead.”\u003c/p>\n\u003cp>The very credible tweet was delivered by the ornithologists who’ve been watching over UC Berkeley’s resident peregrine falcons, Annie and Grinnell, for the last five years.\u003c/p>\n\u003cp>[aside postid='arts_13907837']“It’s incredibly difficult to say goodbye to Annie. She was a wonderful mother and raised 13 chicks in five broods,” the \u003ca href=\"https://twitter.com/CalFalconCam/status/1498374903149510660\" target=\"_blank\" rel=\"noopener noreferrer\">CalFalconCam experts continued in their Twitter obituary\u003c/a>. “We are going to miss Annie immensely, but we are so grateful for the five years we got to spend with her and her chicks.”\u003c/p>\n\u003cp>The news came as a blow to fans of the avian couple who, just a few months ago, were worried that Annie and Grinnell’s long-term relationship was over, thanks to \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\" target=\"_blank\" rel=\"noopener noreferrer\">a flirty falcon who had beaten up Grinnell and set his sights on Annie\u003c/a>. There were sighs of relief all round after the beloved pair reunited in plenty of time for Valentine’s Day. News of Annie’s potential demise clearly came as a very sad shock. “So, so hope Annie has simply left the area in good health,” \u003ca href=\"https://twitter.com/SK_Pollock/status/1498377934242942980\" target=\"_blank\" rel=\"noopener noreferrer\">one fan wrote\u003c/a>. “Extremely sorry to hear this news,” \u003ca href=\"https://twitter.com/CoriMcCoriCori/status/1498375809790324737\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted another\u003c/a>. “I’ve loved following Annie and Grinnell’s story and will truly miss her.”\u003c/p>\n\u003cp>https://twitter.com/Fyght4Cal/status/1498379356917284867\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then on Tuesday, out of the clear blue sky, Annie swooped back onto the UC Berkeley Campanile, screamed “SIKE!” at all the lady birds trying to move into her nest, and coldly demanded Grinnell fetch her a dead pigeon to feast on. Just kidding. But she \u003cem>did\u003c/em> come back.\u003c/p>\n\u003cp>On Tuesday morning, the (now obviously very confused) ornithologists hit Twitter once more to say sorry for presuming Annie was dead. “Uh… this is something we’ve never seen before,” their message began. “Annie is back! We’ve never, in our years of monitoring peregrine nests had a female disappear during the peak of breeding season and reappear a week later like nothing had changed.” (Consider this definitive proof that Annie simply isn’t like other falcons!)\u003c/p>\n\u003cp>https://twitter.com/CalFalconCam/status/1498743398244700164\u003c/p>\n\u003cp>“We have to take a moment to sincerely apologize,” the scientists continued as if Annie hadn’t planned the whole thing to get more Twitter followers. “But this is something that is totally unexpected and goes against pretty much everything we’ve seen.”\u003c/p>\n\u003cp>Needless to say, Annie and Grinnell fans rushed to celebrate the return of the best faker in falcon history.\u003c/p>\n\u003cp>https://twitter.com/CalFalconCam/status/1498760415890845709\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13909963\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220301_180141-800x1244.jpg\" alt=\"\" width=\"800\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-1020x1587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-768x1195.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-987x1536.jpg 987w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>https://twitter.com/joliclown/status/1498839051415085059\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Welcome back, Annie.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The terrible news broke on Monday. “We believe that Annie has either been displaced from the territory, is injured or dead.”\u003c/p>\n\u003cp>The very credible tweet was delivered by the ornithologists who’ve been watching over UC Berkeley’s resident peregrine falcons, Annie and Grinnell, for the last five years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s incredibly difficult to say goodbye to Annie. She was a wonderful mother and raised 13 chicks in five broods,” the \u003ca href=\"https://twitter.com/CalFalconCam/status/1498374903149510660\" target=\"_blank\" rel=\"noopener noreferrer\">CalFalconCam experts continued in their Twitter obituary\u003c/a>. “We are going to miss Annie immensely, but we are so grateful for the five years we got to spend with her and her chicks.”\u003c/p>\n\u003cp>The news came as a blow to fans of the avian couple who, just a few months ago, were worried that Annie and Grinnell’s long-term relationship was over, thanks to \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\" target=\"_blank\" rel=\"noopener noreferrer\">a flirty falcon who had beaten up Grinnell and set his sights on Annie\u003c/a>. There were sighs of relief all round after the beloved pair reunited in plenty of time for Valentine’s Day. News of Annie’s potential demise clearly came as a very sad shock. “So, so hope Annie has simply left the area in good health,” \u003ca href=\"https://twitter.com/SK_Pollock/status/1498377934242942980\" target=\"_blank\" rel=\"noopener noreferrer\">one fan wrote\u003c/a>. “Extremely sorry to hear this news,” \u003ca href=\"https://twitter.com/CoriMcCoriCori/status/1498375809790324737\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted another\u003c/a>. “I’ve loved following Annie and Grinnell’s story and will truly miss her.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then on Tuesday, out of the clear blue sky, Annie swooped back onto the UC Berkeley Campanile, screamed “SIKE!” at all the lady birds trying to move into her nest, and coldly demanded Grinnell fetch her a dead pigeon to feast on. Just kidding. But she \u003cem>did\u003c/em> come back.\u003c/p>\n\u003cp>On Tuesday morning, the (now obviously very confused) ornithologists hit Twitter once more to say sorry for presuming Annie was dead. “Uh… this is something we’ve never seen before,” their message began. “Annie is back! We’ve never, in our years of monitoring peregrine nests had a female disappear during the peak of breeding season and reappear a week later like nothing had changed.” (Consider this definitive proof that Annie simply isn’t like other falcons!)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We have to take a moment to sincerely apologize,” the scientists continued as if Annie hadn’t planned the whole thing to get more Twitter followers. “But this is something that is totally unexpected and goes against pretty much everything we’ve seen.”\u003c/p>\n\u003cp>Needless to say, Annie and Grinnell fans rushed to celebrate the return of the best faker in falcon history.\u003c/p>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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