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"content": "\u003cp>The film \u003cem>Judas and the Black Messiah\u003c/em> has already made history at the Oscars. It’s the first Best Picture nominee with an all-Black producing team, which includes two Kings and a Coogler: Ryan Coogler, Shaka King and Charles D. King, who brings a new vision for Hollywood.\u003c/p>\n\u003cp>King has always had an eye for spotting talent, and he knows diverse audiences are thirsty for their stories to be told in Hollywood. It’s why he created his own multiplatform company, called MACRO, “to focus on telling stories from and about people of color, ” he says. “There were just not enough of these types of movies.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>King remembers the phone call he got from his good friend Ryan Coogler, whose superhero movie \u003cem>Black\u003c/em> \u003cem>Panther \u003c/em>was a hit. He says Coogler was ready to produce a film about a real life Black Panther leader. “He said, hey, there’s this incredible script written by Shaka King about Fred Hampton,” King recalls. “And I’d like to see if you and MACRO would be interested in collaborating on it.”\u003c/p>\n\u003cp>“We were just blown away by the story,” he says, a story examining the work and life of Black Panther leader Fred Hampton, and the FBI informant who infiltrated the Chicago chapter of the Black Panther Party.\u003c/p>\n\u003cp>As a producer, King helped develop the script for \u003cem>Judas and the Black Messiah\u003c/em>; he was on the set and he was intensely involved with the film’s release and marketing. Writer/director Shaka King says Charles King’s support was crucial.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He committed 50 per cent of the budget before we even went out to a studio, which is incredibly rare, which also gave us just a certain level of autonomy,” says Shaka King. ” If he had put in less money, the studio would have had more control … I think one of the reasons [Charles] wanted to put up 50 per cent was because he wanted to make sure that I got to make the movie that I wanted to make, which was very generous of him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ivHf4ODMi4\u003c/p>\n\u003cp>King knows that representation matters. He was born in Harlem in 1969 and grew up in an Atlanta suburb, where his father was a pediatrician and his mother wrote novels and poetry. While studying political science at Vanderbilt, a friend suggested he become an entertainment lawyer.\u003c/p>\n\u003cp>“Growing up in Decatur, Georgia in a middle class family, I just didn’t know what an entertainment lawyer did,” he says. “But I watched this television show with my mother called \u003cem>L.A. Law\u003c/em>, and I remember there was this one Black character on the show played by Blair Underwood. He’s this charismatic African American attorney at the firm and he stood up for himself and he was just the man.”\u003c/p>\n\u003cp>King was inspired to study at Howard University School of Law. After graduating in 1997, he packed up a U-Haul truck and moved to Los Angeles with a few hundred dollars to his name. His ten-year plan to lead his own entertainment and media company began in the mailroom of the famed William Morris agency.\u003c/p>\n\u003cp>“I looked at the agency world as as the perfect launching ground to get my feet wet, to build relationships, to understand the industry,” King says. [aside postid='arts_13892167']\u003c/p>\n\u003cp>Even as a trainee in the mailroom, King brought in new clients, like hip-hop star Missy Elliot. He got to know the company’s CEO; he networked at conferences and wrote reports on cultural trends such as hip-hop, and on the viewing patterns and revenue potential of Black, Latino and Asian audiences. King moved up quickly.\u003c/p>\n\u003cp>“When I got promoted, it was the first time in, I believe, 101 years, [for an] African American to go from the mailroom to film and television agent, at least in the Beverly Hills office,” says King. “I was very good at being an agent, and I broke tremendous ground. I became the first Black partner in the history of Hollywood when William Morris and Endeavor merged.”\u003c/p>\n\u003cp>As an agent, King grew an impressive roster. Among his clients: Oprah, Janet Jackson, Lin-Manuel Miranda, and Tyler Perry, who he signed before anyone else in Hollywood knew who he was. King introduced Perry to studio executives and got them to see Perry’s plays. King also helped set up a deal at Lionsgate for Perry’s first film, \u003cem>Diary of a Mad Black Woman\u003c/em>.\u003c/p>\n\u003cp>“Everyone was like, oh, my God, I can’t believe this five million dollar movie made fifty million at box office and sold millions and millions and millions of DVDs,” he says. “And that was just the launch of this incredible franchise and business.”\u003c/p>\n\u003cp>King also helped Perry set up a new business model for syndicating TV projects, starting with \u003cem>Tyler Perry’s House of Payne\u003c/em>. With Perry’s lawyer, King structured what was called the “10-90” distribution deal, designed to maximize profitability: an arrangement where a network test runs ten episodes of a new television series. If it does well, the network then orders 90 more episodes and guarantees the entire 100-episode package will be sold for syndication.\u003c/p>\n\u003cp>“My nickname was 2005,” King recalls. That was the year, his fifth as an agent, he not only struck gold with Tyler Perry, but he also brought in filmmaker Craig Brewer, whose film \u003cem>Hustle and Flow\u003c/em> was a big seller at the Sundance Film Festival. King began repping the film’s star, Terrence Howard, who earned an Oscar nomination. And he began representing Prince.\u003c/p>\n\u003cp>King says as an African American man, he had to make ten times as many phone calls as his colleagues representing white movie stars and filmmakers. And he did a lot of educating about the value of diversity. [aside postid='arts_13819809']\u003c/p>\n\u003cp>“The leaders at the top of William Morris and, frankly, the senior chairman level of a lot of the studios that I would interface with, they would usually get it,” King says. “A lot of times, you find it’s the people in the middle that are less visionary. And so, yeah, of course, there were moments where I would be discussing things or bringing up concepts and meetings and literally got laughed at. And then a few years later, I was running the meetings because I was generating ten times more revenue than they were.”\u003c/p>\n\u003cp>In 2015, after nearly 20 years at William Morris, King took a leap of faith. He left the agency to create MACRO with his wife Stacey and a few partners. They launched a month before the #OscarsSoWhite movement began, and hit it out of the ballpark with the first film they produced, \u003cem>Fences\u003c/em>. The film’s star Denzel Washington earned an Oscar nomination, and co-star Viola Davis won Best Supporting Actress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jj-ZYPVRQbc\u003c/p>\n\u003cp>Then Mary J. Blige was nominated for another MACRO film, \u003cem>Mudbound\u003c/em>. Since then, MACRO has produced other films, including \u003cem>Just Mercy\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and the series \u003cem>Gentefied\u003c/em> and \u003cem>Raising Dion\u003c/em>. Earlier this year, King’s company inked a first-look deal with Warner Brothers to develop and package features.\u003c/p>\n\u003cp>King says up to 70 per cent of his team leaders are women, and everyone at his company is encouraged to present ideas. He says MACRO’s mission is to present a new paradigm in the media landscape, to disrupt the way things have always been done.\u003c/p>\n\u003cp>“This is not just about building an entertainment and media brand that will be around for generations,” he says. “This is also about lifting culture. It’s about creating opportunity. It’s about making our world better.”\u003c/p>\n\u003cp>King says his empire in Hollywood has only just begun.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Mandalit del Barco and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27This+Is+About+Lifting+Culture%2C%27+Says+History-Making+Producer+Charles+D.+King&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even as a trainee in the mailroom, King brought in new clients, like hip-hop star Missy Elliot. He got to know the company’s CEO; he networked at conferences and wrote reports on cultural trends such as hip-hop, and on the viewing patterns and revenue potential of Black, Latino and Asian audiences. King moved up quickly.\u003c/p>\n\u003cp>“When I got promoted, it was the first time in, I believe, 101 years, [for an] African American to go from the mailroom to film and television agent, at least in the Beverly Hills office,” says King. “I was very good at being an agent, and I broke tremendous ground. I became the first Black partner in the history of Hollywood when William Morris and Endeavor merged.”\u003c/p>\n\u003cp>As an agent, King grew an impressive roster. Among his clients: Oprah, Janet Jackson, Lin-Manuel Miranda, and Tyler Perry, who he signed before anyone else in Hollywood knew who he was. King introduced Perry to studio executives and got them to see Perry’s plays. King also helped set up a deal at Lionsgate for Perry’s first film, \u003cem>Diary of a Mad Black Woman\u003c/em>.\u003c/p>\n\u003cp>“Everyone was like, oh, my God, I can’t believe this five million dollar movie made fifty million at box office and sold millions and millions and millions of DVDs,” he says. “And that was just the launch of this incredible franchise and business.”\u003c/p>\n\u003cp>King also helped Perry set up a new business model for syndicating TV projects, starting with \u003cem>Tyler Perry’s House of Payne\u003c/em>. With Perry’s lawyer, King structured what was called the “10-90” distribution deal, designed to maximize profitability: an arrangement where a network test runs ten episodes of a new television series. If it does well, the network then orders 90 more episodes and guarantees the entire 100-episode package will be sold for syndication.\u003c/p>\n\u003cp>“My nickname was 2005,” King recalls. That was the year, his fifth as an agent, he not only struck gold with Tyler Perry, but he also brought in filmmaker Craig Brewer, whose film \u003cem>Hustle and Flow\u003c/em> was a big seller at the Sundance Film Festival. King began repping the film’s star, Terrence Howard, who earned an Oscar nomination. And he began representing Prince.\u003c/p>\n\u003cp>King says as an African American man, he had to make ten times as many phone calls as his colleagues representing white movie stars and filmmakers. And he did a lot of educating about the value of diversity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The leaders at the top of William Morris and, frankly, the senior chairman level of a lot of the studios that I would interface with, they would usually get it,” King says. “A lot of times, you find it’s the people in the middle that are less visionary. And so, yeah, of course, there were moments where I would be discussing things or bringing up concepts and meetings and literally got laughed at. And then a few years later, I was running the meetings because I was generating ten times more revenue than they were.”\u003c/p>\n\u003cp>In 2015, after nearly 20 years at William Morris, King took a leap of faith. He left the agency to create MACRO with his wife Stacey and a few partners. They launched a month before the #OscarsSoWhite movement began, and hit it out of the ballpark with the first film they produced, \u003cem>Fences\u003c/em>. The film’s star Denzel Washington earned an Oscar nomination, and co-star Viola Davis won Best Supporting Actress.\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/jj-ZYPVRQbc'\n title='//www.youtube.com/embed/jj-ZYPVRQbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then Mary J. Blige was nominated for another MACRO film, \u003cem>Mudbound\u003c/em>. Since then, MACRO has produced other films, including \u003cem>Just Mercy\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and the series \u003cem>Gentefied\u003c/em> and \u003cem>Raising Dion\u003c/em>. Earlier this year, King’s company inked a first-look deal with Warner Brothers to develop and package features.\u003c/p>\n\u003cp>King says up to 70 per cent of his team leaders are women, and everyone at his company is encouraged to present ideas. He says MACRO’s mission is to present a new paradigm in the media landscape, to disrupt the way things have always been done.\u003c/p>\n\u003cp>“This is not just about building an entertainment and media brand that will be around for generations,” he says. “This is also about lifting culture. It’s about creating opportunity. It’s about making our world better.”\u003c/p>\n\u003cp>King says his empire in Hollywood has only just begun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Mandalit del Barco and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27This+Is+About+Lifting+Culture%2C%27+Says+History-Making+Producer+Charles+D.+King&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "TikTok's Sienna Mae Gomez is Trapped in a Body Positivity Movement That Loves Almost No One",
"headTitle": "TikTok’s Sienna Mae Gomez is Trapped in a Body Positivity Movement That Loves Almost No One | KQED",
"content": "\u003cp>\u003ca href=\"https://www.tiktok.com/@siennamae\" target=\"_blank\" rel=\"noopener noreferrer\">Sienna Mae Gomez\u003c/a> is a confident, fun-loving 17-year-old girl who has, in the space of a single year, amassed 15 million followers on TikTok. Gomez’s videos—which show her dancing, goofing around, and generally living her best life—inspired a profile earlier this year in \u003ca href=\"https://www.nylon.com/beauty/sienna-mae-gomez-on-viral-tiktok-fame-body-positivity-and-her-first-big-beauty-deal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nylon\u003c/em>\u003c/a>, which described her as “a cool girl confidently show[ing] off her regular body,” and praised for her “positive body image.” That description was born from the fact that Gomez regularly \u003ca href=\"https://www.tiktok.com/@siennamae/video/6938861360998599942?is_copy_url=1&is_from_webapp=v2\" target=\"_blank\" rel=\"noopener noreferrer\">preaches “self-love,”\u003c/a> enthusiastically \u003ca href=\"https://www.tiktok.com/@siennamae/video/6934189925612981510?is_copy_url=1&is_from_webapp=v2\" target=\"_blank\" rel=\"noopener noreferrer\">eats food on camera\u003c/a>, and dances in bikinis unselfconsciously.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@siennamae/video/6942616617280883974\" data-video-id=\"6942616617280883974\">\n\u003csection>\u003ca title=\"@siennamae\" href=\"https://www.tiktok.com/@siennamae\" target=\"_blank\" rel=\"noopener noreferrer\">@siennamae\u003c/a>quarantine 2020 vibes\u003ca title=\"♬ lady gaga saying that ppl can do hard things - umru\" href=\"https://www.tiktok.com/music/lady-gaga-saying-that-ppl-can-do-hard-things-6926901814931606277\" target=\"_blank\" rel=\"noopener noreferrer\">♬ lady gaga saying that ppl can do hard things – umru\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Last week, Gomez posted a clip titled “bloating.” In it, she side-profiled her concave stomach expanding to a merely flat one after apparently eating five tacos.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@siennamae/video/6947461951664540934\" data-video-id=\"6947461951664540934\">\n\u003csection>\u003ca title=\"@siennamae\" href=\"https://www.tiktok.com/@siennamae\" target=\"_blank\" rel=\"noopener noreferrer\">@siennamae\u003c/a>bloating😁😁\u003ca title=\"♬ Exclamation mark - Soul\" href=\"https://www.tiktok.com/music/Exclamation-mark-6940429731603041030\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Exclamation mark – Soul\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>The criticism from fans about the clip prompted her to make \u003ca href=\"https://www.tiktok.com/@siennamae/video/6947490119070797062?is_copy_url=1&is_from_webapp=v2\" target=\"_blank\" rel=\"noopener noreferrer\">another video\u003c/a> almost immediately. In it, she captioned a message from a TikTok user who told Gomez that, despite her oft-repeated body positive stance, her slender physique just made bigger girls watching “feel worse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I never claimed to be the face of body positivity,” Gomez says in the clip. “I never claimed to be in a specific group or representing a specific group of people. My account has always been, and will always be, purely just me feeling confident and hoping that that can inspire others … I’ve always put the message out there that any body type is beautiful. There is no right body.”\u003c/p>\n\u003cp>Gomez’s latest body positivity controversy emerges less than two months after she came under fire for launching a merch line sporting the phrase “Did you eat today?” Many critics saw it as an attempt to profit from other people’s eating disorders; \u003ca href=\"https://twitter.com/defnoodles/status/1360745257151782914/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">Gomez asserted\u003c/a> that she was trying to express “compassion and care for people who are struggling.” [aside postid='pop_84826']\u003c/p>\n\u003cp>Gomez certainly has a healthier attitude toward food and self-love than a great many other TikTok personalities. And her age is undoubtedly a factor in some of the issues she’s experiencing with her personal brand. But Gomez has also been benefiting—through no fault of her own—from a mainstream culture that has, for years, co-opted the ideas of “body positivity” without actually celebrating fat bodies.\u003c/p>\n\u003cp>Examples, unrelated to either Gomez or TikTok, are not hard to come by.\u003c/p>\n\u003cp>In 2016, \u003cem>Glamour\u003c/em> magazine added Amy Schumer to the cover of its plus size issue, despite the fact that she was a size 6-8 at the time. (It was left to \u003ca href=\"https://www.instagram.com/p/BD0sVf9KUCy/\" target=\"_blank\" rel=\"noopener noreferrer\">Schumer herself to point out on Instagram\u003c/a> that presenting her body as plus size was damaging to young women.)\u003c/p>\n\u003cp>In 2018, Everlane prominently used an \u003ca href=\"https://twitter.com/Everlane/status/1079791787424665600/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">extra-curvy model\u003c/a> named Chloé Vero in the ad campaign for its underwear launch—only to cap the largest size at XL. (That particular underwear came with a 32-inch waist.)\u003c/p>\n\u003cp>In 2017, \u003cem>Vogue\u003c/em> hyped up the fact that Ashley Graham would be the first plus size model to grace its cover, only to hide her body in a line of \u003cem>Vogue\u003c/em>‘s regular models. (“NO NORM IS THE NEW NORM,” the cover lied.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895242 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/screen-shot-2017-02-09-at-9-50-24-am-1486654943.png\" alt=\"\" width=\"480\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/screen-shot-2017-02-09-at-9-50-24-am-1486654943.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/screen-shot-2017-02-09-at-9-50-24-am-1486654943-160x200.png 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/p>\n\u003cp>In January, \u003cem>E!\u003c/em>, \u003cem>Glamour\u003c/em>, \u003cem>Yahoo\u003c/em>, \u003cem>Seventeen\u003c/em>, \u003ca href=\"https://www.usmagazine.com/celebrity-body/news/khloe-kardashian-shows-off-stretch-marks-in-bikini-photo/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>US Weekly\u003c/em>\u003c/a> and a variety of other outlets all carried stories about the fact that Khloe Kardashian had “proudly” shown off her stretch marks in an Instagram post. The headlines suggested this was a relatable moment, an occasion to celebrate women’s imperfections. \u003cem>US Weekly\u003c/em> began its article on the subject with the words: “The real her.” Despite all that hype, Kardashian’s image bore little resemblance to anything most women could relate to.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKrfAC7BSLg/\u003c/p>\n\u003cp>Coincidentally, just as Sienna Mae Gomez was reckoning with her place in the skewed world of mainstream body positivity, Lena Dunham was \u003ca href=\"https://www.nytimes.com/2021/04/05/style/lena-dunham-body-positivity-11-honore-spanx.html\" target=\"_blank\" rel=\"noopener noreferrer\">breaking down the movement for the \u003cem>New York Times\u003c/em>\u003c/a>. In an interview to promote her new plus size collaboration with 11 Honoré over the weekend, Dunham described the narrow parameters of the bodies deemed appropriate for mainstream celebration.\u003c/p>\n\u003cp>She told the newspaper:\u003c/p>\n\u003cblockquote>\u003cp>The thing that’s complicated about the body positive movement, is it can be for the privileged few who have a body that looks the way people want to feel positive. We want curvy bodies that look like Kim Kardashian has been up-sized slightly. We want big beautiful butts and big beautiful breasts and no cellulite and faces that look like you could smack them on to thin women.\u003c/p>\u003c/blockquote>\n\u003cp>A quick glance at \u003cem>Cosmopolitan\u003c/em>‘s 2021 list of “\u003ca href=\"https://www.cosmopolitan.com/uk/fashion/a49364/curvy-plus-size-model-instagram/\" target=\"_blank\" rel=\"noopener noreferrer\">Best Plus Size Models and Accounts to Follow\u003c/a>” perfectly illustrates Dunham’s point. While, unlike Gomez, the women featured \u003cem>are\u003c/em> size 12 or over, they almost exclusively fit the very specific type that Dunham describes.\u003c/p>\n\u003cp>The list includes \u003ca href=\"https://www.instagram.com/p/Bzg4bf9gkq7/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Graham\u003c/a>, \u003ca href=\"https://www.instagram.com/p/CMctG1hsZqu/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonny Turner\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CFadljPJweI/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Sezer\u003c/a>. (Thankfully, it also includes \u003ca href=\"https://www.instagram.com/p/CJAEkEin3SI/\" target=\"_blank\" rel=\"noopener noreferrer\">Tess Holiday\u003c/a>, a glaring exception to the rule.)\u003c/p>\n\u003cp>https://www.instagram.com/p/Bzg4bf9gkq7/\u003c/p>\n\u003cp>Of course, in more niche, fat positive circles on the internet, you will find rounder bellies, less symmetrical waistlines and a much broader idea of what it means to be big and beautiful. But the struggle to get America on board with actual, real-life, plus size bodies has been ongoing for years.\u003c/p>\n\u003cp>While filming \u003cem>Girls\u003c/em>—a show in which she often appeared naked and unposed—Dunham was bombarded with criticism about her body, and told by countless internet trolls to cover up. As such, she has given a lot of thought as to why the world is more comfortable hearing about body positivity from women with smaller bodies than hers. [aside postid='arts_13880699']\u003c/p>\n\u003cp>“I have a big stomach, I always have,” she \u003ca href=\"https://www.nytimes.com/2021/04/05/style/lena-dunham-body-positivity-11-honore-spanx.html\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> the \u003cem>New York Times\u003c/em>. “That’s where I gain my weight … and that’s not where anybody wants to see flesh … The amount of people who have written to me on my page: ‘You’re promoting obesity. Don’t you understand you’re killing yourself? Are you stupid? Why are you doing that?'” She continued: “If a thin girl wears sweatpants, it’s kind of cute—like, ‘I’m having a rough day!’ But for a chubby girl, it’s ‘You’ve made a lifestyle choice to give up.’”\u003c/p>\n\u003cp>Truthfully, Gomez and Dunham represent two sides of the same coin. Both became famous as very young women. Both arrived in the public consciousness with specific sets of privilege (Gomez’s is physical; Dunham’s financial) that leave them exposed to criticism.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the difference in how Dunham and Gomez have been received is rooted firmly in the thing they’re both trying to stamp out. The fact that both are struggling to such a great degree to get their message across isn’t an indictment of either of them, really. It’s the reflection of a culture that ceaselessly continues to judge women based on the shapes and sizes of their bodies.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.tiktok.com/@siennamae\" target=\"_blank\" rel=\"noopener noreferrer\">Sienna Mae Gomez\u003c/a> is a confident, fun-loving 17-year-old girl who has, in the space of a single year, amassed 15 million followers on TikTok. Gomez’s videos—which show her dancing, goofing around, and generally living her best life—inspired a profile earlier this year in \u003ca href=\"https://www.nylon.com/beauty/sienna-mae-gomez-on-viral-tiktok-fame-body-positivity-and-her-first-big-beauty-deal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nylon\u003c/em>\u003c/a>, which described her as “a cool girl confidently show[ing] off her regular body,” and praised for her “positive body image.” That description was born from the fact that Gomez regularly \u003ca href=\"https://www.tiktok.com/@siennamae/video/6938861360998599942?is_copy_url=1&is_from_webapp=v2\" target=\"_blank\" rel=\"noopener noreferrer\">preaches “self-love,”\u003c/a> enthusiastically \u003ca href=\"https://www.tiktok.com/@siennamae/video/6934189925612981510?is_copy_url=1&is_from_webapp=v2\" target=\"_blank\" rel=\"noopener noreferrer\">eats food on camera\u003c/a>, and dances in bikinis unselfconsciously.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@siennamae/video/6942616617280883974\" data-video-id=\"6942616617280883974\">\n\u003csection>\u003ca title=\"@siennamae\" href=\"https://www.tiktok.com/@siennamae\" target=\"_blank\" rel=\"noopener noreferrer\">@siennamae\u003c/a>quarantine 2020 vibes\u003ca title=\"♬ lady gaga saying that ppl can do hard things - umru\" href=\"https://www.tiktok.com/music/lady-gaga-saying-that-ppl-can-do-hard-things-6926901814931606277\" target=\"_blank\" rel=\"noopener noreferrer\">♬ lady gaga saying that ppl can do hard things – umru\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week, Gomez posted a clip titled “bloating.” In it, she side-profiled her concave stomach expanding to a merely flat one after apparently eating five tacos.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@siennamae/video/6947461951664540934\" data-video-id=\"6947461951664540934\">\n\u003csection>\u003ca title=\"@siennamae\" href=\"https://www.tiktok.com/@siennamae\" target=\"_blank\" rel=\"noopener noreferrer\">@siennamae\u003c/a>bloating😁😁\u003ca title=\"♬ Exclamation mark - Soul\" href=\"https://www.tiktok.com/music/Exclamation-mark-6940429731603041030\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Exclamation mark – Soul\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The criticism from fans about the clip prompted her to make \u003ca href=\"https://www.tiktok.com/@siennamae/video/6947490119070797062?is_copy_url=1&is_from_webapp=v2\" target=\"_blank\" rel=\"noopener noreferrer\">another video\u003c/a> almost immediately. In it, she captioned a message from a TikTok user who told Gomez that, despite her oft-repeated body positive stance, her slender physique just made bigger girls watching “feel worse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I never claimed to be the face of body positivity,” Gomez says in the clip. “I never claimed to be in a specific group or representing a specific group of people. My account has always been, and will always be, purely just me feeling confident and hoping that that can inspire others … I’ve always put the message out there that any body type is beautiful. There is no right body.”\u003c/p>\n\u003cp>Gomez’s latest body positivity controversy emerges less than two months after she came under fire for launching a merch line sporting the phrase “Did you eat today?” Many critics saw it as an attempt to profit from other people’s eating disorders; \u003ca href=\"https://twitter.com/defnoodles/status/1360745257151782914/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">Gomez asserted\u003c/a> that she was trying to express “compassion and care for people who are struggling.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gomez certainly has a healthier attitude toward food and self-love than a great many other TikTok personalities. And her age is undoubtedly a factor in some of the issues she’s experiencing with her personal brand. But Gomez has also been benefiting—through no fault of her own—from a mainstream culture that has, for years, co-opted the ideas of “body positivity” without actually celebrating fat bodies.\u003c/p>\n\u003cp>Examples, unrelated to either Gomez or TikTok, are not hard to come by.\u003c/p>\n\u003cp>In 2016, \u003cem>Glamour\u003c/em> magazine added Amy Schumer to the cover of its plus size issue, despite the fact that she was a size 6-8 at the time. (It was left to \u003ca href=\"https://www.instagram.com/p/BD0sVf9KUCy/\" target=\"_blank\" rel=\"noopener noreferrer\">Schumer herself to point out on Instagram\u003c/a> that presenting her body as plus size was damaging to young women.)\u003c/p>\n\u003cp>In 2018, Everlane prominently used an \u003ca href=\"https://twitter.com/Everlane/status/1079791787424665600/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">extra-curvy model\u003c/a> named Chloé Vero in the ad campaign for its underwear launch—only to cap the largest size at XL. (That particular underwear came with a 32-inch waist.)\u003c/p>\n\u003cp>In 2017, \u003cem>Vogue\u003c/em> hyped up the fact that Ashley Graham would be the first plus size model to grace its cover, only to hide her body in a line of \u003cem>Vogue\u003c/em>‘s regular models. (“NO NORM IS THE NEW NORM,” the cover lied.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895242 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/screen-shot-2017-02-09-at-9-50-24-am-1486654943.png\" alt=\"\" width=\"480\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/screen-shot-2017-02-09-at-9-50-24-am-1486654943.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/screen-shot-2017-02-09-at-9-50-24-am-1486654943-160x200.png 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/p>\n\u003cp>In January, \u003cem>E!\u003c/em>, \u003cem>Glamour\u003c/em>, \u003cem>Yahoo\u003c/em>, \u003cem>Seventeen\u003c/em>, \u003ca href=\"https://www.usmagazine.com/celebrity-body/news/khloe-kardashian-shows-off-stretch-marks-in-bikini-photo/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>US Weekly\u003c/em>\u003c/a> and a variety of other outlets all carried stories about the fact that Khloe Kardashian had “proudly” shown off her stretch marks in an Instagram post. The headlines suggested this was a relatable moment, an occasion to celebrate women’s imperfections. \u003cem>US Weekly\u003c/em> began its article on the subject with the words: “The real her.” Despite all that hype, Kardashian’s image bore little resemblance to anything most women could relate to.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Coincidentally, just as Sienna Mae Gomez was reckoning with her place in the skewed world of mainstream body positivity, Lena Dunham was \u003ca href=\"https://www.nytimes.com/2021/04/05/style/lena-dunham-body-positivity-11-honore-spanx.html\" target=\"_blank\" rel=\"noopener noreferrer\">breaking down the movement for the \u003cem>New York Times\u003c/em>\u003c/a>. In an interview to promote her new plus size collaboration with 11 Honoré over the weekend, Dunham described the narrow parameters of the bodies deemed appropriate for mainstream celebration.\u003c/p>\n\u003cp>She told the newspaper:\u003c/p>\n\u003cblockquote>\u003cp>The thing that’s complicated about the body positive movement, is it can be for the privileged few who have a body that looks the way people want to feel positive. We want curvy bodies that look like Kim Kardashian has been up-sized slightly. We want big beautiful butts and big beautiful breasts and no cellulite and faces that look like you could smack them on to thin women.\u003c/p>\u003c/blockquote>\n\u003cp>A quick glance at \u003cem>Cosmopolitan\u003c/em>‘s 2021 list of “\u003ca href=\"https://www.cosmopolitan.com/uk/fashion/a49364/curvy-plus-size-model-instagram/\" target=\"_blank\" rel=\"noopener noreferrer\">Best Plus Size Models and Accounts to Follow\u003c/a>” perfectly illustrates Dunham’s point. While, unlike Gomez, the women featured \u003cem>are\u003c/em> size 12 or over, they almost exclusively fit the very specific type that Dunham describes.\u003c/p>\n\u003cp>The list includes \u003ca href=\"https://www.instagram.com/p/Bzg4bf9gkq7/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Graham\u003c/a>, \u003ca href=\"https://www.instagram.com/p/CMctG1hsZqu/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonny Turner\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CFadljPJweI/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Sezer\u003c/a>. (Thankfully, it also includes \u003ca href=\"https://www.instagram.com/p/CJAEkEin3SI/\" target=\"_blank\" rel=\"noopener noreferrer\">Tess Holiday\u003c/a>, a glaring exception to the rule.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of course, in more niche, fat positive circles on the internet, you will find rounder bellies, less symmetrical waistlines and a much broader idea of what it means to be big and beautiful. But the struggle to get America on board with actual, real-life, plus size bodies has been ongoing for years.\u003c/p>\n\u003cp>While filming \u003cem>Girls\u003c/em>—a show in which she often appeared naked and unposed—Dunham was bombarded with criticism about her body, and told by countless internet trolls to cover up. As such, she has given a lot of thought as to why the world is more comfortable hearing about body positivity from women with smaller bodies than hers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have a big stomach, I always have,” she \u003ca href=\"https://www.nytimes.com/2021/04/05/style/lena-dunham-body-positivity-11-honore-spanx.html\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> the \u003cem>New York Times\u003c/em>. “That’s where I gain my weight … and that’s not where anybody wants to see flesh … The amount of people who have written to me on my page: ‘You’re promoting obesity. Don’t you understand you’re killing yourself? Are you stupid? Why are you doing that?'” She continued: “If a thin girl wears sweatpants, it’s kind of cute—like, ‘I’m having a rough day!’ But for a chubby girl, it’s ‘You’ve made a lifestyle choice to give up.’”\u003c/p>\n\u003cp>Truthfully, Gomez and Dunham represent two sides of the same coin. Both became famous as very young women. Both arrived in the public consciousness with specific sets of privilege (Gomez’s is physical; Dunham’s financial) that leave them exposed to criticism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the difference in how Dunham and Gomez have been received is rooted firmly in the thing they’re both trying to stamp out. The fact that both are struggling to such a great degree to get their message across isn’t an indictment of either of them, really. It’s the reflection of a culture that ceaselessly continues to judge women based on the shapes and sizes of their bodies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Ruthless Ranking of the 25 Best Muppets, According to NPR Listeners",
"headTitle": "A Ruthless Ranking of the 25 Best Muppets, According to NPR Listeners | KQED",
"content": "\u003cp>When we asked our trusty \u003cem>Pop Culture Happy Hour\u003c/em> listeners to vote for the Best Muppet, we knew they’d come through. Over 18,000 votes were cast; over 150 different Muppets received votes.\u003c/p>\n\u003cp>Yes. Some brave, beautiful, misguided soul voted for \u003ca href=\"https://www.youtube.com/watch?v=iKSGF4Ufso8\" target=\"_blank\" rel=\"noopener noreferrer\">H. Ross Parrot\u003c/a>. As \u003cem>Best \u003c/em>Muppet. That is a thing that happened.\u003c/p>\n\u003cp>Someone else—you can always count on PCHH listeners to bring the deep, \u003cem>deep \u003c/em>cuts—cast a single vote for\u003ca href=\"https://www.youtube.com/watch?v=4bfdaR4xMeU\" target=\"_blank\" rel=\"noopener noreferrer\"> Delbert the La Choy Dragon\u003c/a>.\u003c/p>\n\u003cp>But naturally enough, votes accreted around the Muppets with greater notoriety. (Sorry, Ma Otter, it’s not your time.) On Friday’s episode of Pop Culture Happy Hour, we reveal the top ten vote-getters, so stop reading now if you want to listen and be surprised.\u003c/p>\n\u003cp>Here, though, we’ll tick off your top 25.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We established some ground rules, of course. Which made our daily PCHH Zoom call a place where the thorniest philosophical questions of our time were pondered: Should Statler and Waldorf be considered separately, or as a pair? What about Bert and Ernie? Dr. Bunsen Honeydew and Beaker?\u003c/p>\n\u003cp>Here’s where we landed:\u003c/p>\n\u003cul>\n\u003cli>Any Muppet from any property or era was eligible, including \u003cem>The Muppet Show, Muppet Babies, Fraggle Rock, Sesame Street, Labyrinth\u003c/em>, etc.\u003c/li>\n\u003cli>We counted all variations of a Muppet character in a group. Thus, Gonzo the Great and Gonzo from \u003cem>Muppet Babies\u003c/em> both count as Gonzo.\u003c/li>\n\u003cli>Some Muppets were counted as a set, like Statler and Waldorf.\u003c/li>\n\u003cli>Others were counted individually, most notably Beaker and Dr. Bunsen Honeydew, as well as Bert and Ernie. The Fraggles of \u003cem>Fraggle Rock\u003c/em> were also counted individually.\u003c/li>\n\u003cli>We disqualified other puppets that are NOT Muppets, including Yoda (he’s really, really not a Muppet, guys, look it up) and the cast of \u003cem>Avenue Q\u003c/em>.\u003c/li>\n\u003cli>We also disqualified human actors in Muppet movies, like Jason Segel, Tim Curry, Michael Caine, and Charles Grodin.\u003c/li>\n\u003c/ul>\n\u003cp>So here they are, the Top 25 Best Muppets, according to the discerning, and impassioned, Pop Culture Happy Hour audience.\u003c/p>\n\u003cp>\u003cstrong>25. Count von Count\u003c/strong>\u003c/p>\n\u003cp>The ultimate Order Muppet. Nice to see the Count showing up here, repping \u003cem>Sesame Street \u003c/em>(he’s one of only 10 \u003cem>Sesame Street\u003c/em> Muppets to make the top 25, surprisingly enough). (Justice for Prairie Dawn, by the way.) He always scared the hell out of me — I didn’t care for those bats forever flitting around his widow’s peak, or for his ability to call forth thunder and lightning—but if you were a kid prone to obsessive behavior, you likely saw, in his compulsion to apportion the chaotic world around him into neat, quantitative chunks, a kindred spirit. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>24. Dr. Teeth \u003c/strong>\u003c/p>\n\u003cp>It pleases me that this talented musician, he of the brightly decorated tour bus and the funkiest and furriest band, made it onto the list. Honestly, it took a while for me, as a young person, to truly appreciate the groovy greatness of Dr. Teeth and the Electric Mayhem (one of the great band names). There’s a way in which the group calls gently to hippies, cool cats, and maybe even (gasp) stoners, that doesn’t matter to little kids but is a little bit funny when you’re older. Plus, particularly in \u003cem>The Muppet Movie\u003c/em>, Dr. Teeth is a key part of the winking, knowing, audience-acknowledging part of Muppet lore. He leads the band. He provides the hot tunes. The doctor is always in. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>23. Bert \u003c/strong>\u003c/p>\n\u003cp>His saddle shoes. His paperclip collection. His love of pigeons, and of the letter W. His bold, if defiantly out-of-step sartorial sensibility (a turtleneck under a v-neck? Why not?) His embrace of rules and order. His simultaneous fondness for, and exasperation with, his less uptight other half. Let’s face it—Bert was the very first nerd millions of us ever encountered. With a thunderbolt of recognition, we saw ourselves in his pained glares, heard ourselves in his monotone staccato laughter. He showed millions the path to fully embrace—nay, to positively \u003cem>exalt \u003c/em>in—our dorkiest, most basic selves. Other nerds in mass media would come later, of course. But he was our first. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=biAMh-xdvJc\u003c/p>\n\u003cp>\u003cstrong>22. Elmo \u003c/strong>\u003c/p>\n\u003cp>Elmo gets a bad rap for the same reasons Barney the Dinosaur did at the height of his fame: Parents find him overly cloying and oversaturated. Ground Zero for this animosity has to be \u003ca href=\"https://www.npr.org/2017/12/25/573365529/remembering-that-must-have-toy-from-past-christmases\" target=\"_blank\" rel=\"noopener noreferrer\">Tickle Me Elmo\u003c/a>, of course. By the mid-’90s, I had graduated from the streets of sesame to the green slime of Nickelodeon, so I was a bit too old to get wrapped up in the craze, but I have vivid memories of the parodies and news reports of grown adults fighting each other to get their hands on the toy. And for a time, I had to live with one of those bad boys, courtesy of my little sister. (It was just as annoying and creepy as a toy can get.) Then came The Takeover a.k.a. the recurring segment “Elmo’s World,” and this furry monster—who refers to himself in the third Muppet—became inescapable.\u003c/p>\n\u003cp>And yet… here he is, sliding into the Top 25 on this list, presumably voted on by adults rather than 5-year-olds who wouldn’t know any better. There are two reasons for this, I think. For one, if you were a millennial like myself, you probably have fewer negative memories of him than those who were exasperated parents or childcare workers at the time of Peak Elmo. But also, in this era of social media, Elmo remains one of the\u003ca href=\"https://knowyourmeme.com/memes/elmo-rise\"> most\u003c/a>\u003ca href=\"https://giphy.com/search/elmo\" target=\"_blank\" rel=\"noopener noreferrer\"> memeable\u003c/a> of all Muppets. In fact, he’s transcended \u003cem>Sesame Street \u003c/em>to become arguably\u003ca href=\"https://twitter.com/TheDillonOne/status/1376323244828024837\" target=\"_blank\" rel=\"noopener noreferrer\"> at his best\u003c/a> in meme form. That’s gotta count for something, I guess! — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>21. Scooter \u003c/strong>\u003c/p>\n\u003cp>A late-’70s shortstop whose batting average generally hovered around .200, Mario Mendoza provides the origin point for the term “The Mendoza Line,” which refers to that hazy boundary separating “just good enough to stay employed” from “not good enough.” From this moment forward, let that line be renamed “The Scooter Line,” which separates the great Muppets—your Ernies, your Sams the Eagle, your Snuffleupagii—from, well, Elmo. (Note: This analogy falls apart when you scroll further up, because Bert, Dr. Teeth, and the Count are all awesome.)\u003c/p>\n\u003cp>Seriously, how did Scooter come in at No. 21? \u003cem>Scooter\u003c/em>?! The guy who only got his job at The Muppet Theatre because his uncle J.P. Grosse owned the venue? The guy whose signature catchphrase involved the number of seconds before actual entertainment was to take place? Is it because Scooter’s glasses double as his actual eyeballs? Is \u003cem>that\u003c/em> how we’re measuring quality these days? \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>20. Snuffleupagus\u003c/strong>\u003c/p>\n\u003cp>Painfully shy. Soulful and sweet. With an eyelash game that Bianca Del Rio would envy. Snuffy began life as Big Bird’s best friend, whom the adults of Sesame Street considered imaginary. This frustrated Big Bird, but in their defense, Snuffy did tend to ditch Big Bird, suddenly, repeatedly, like Big Bird was Commissioner Gordon and Snuffy some kind of fuzzy pachydermic Batman. Eventually, the folks at Children’s Television Workshop realized that having adults roll their eyes at Big Bird’s stories of Snuffy maybe wasn’t sending kids, you know, the \u003cem>best \u003c/em>message? On YouTube you can watch the moment, in 1985, when the adults finally see Snuffy, and it? Is weird. And not a little sinister: Big Bird and Elmo conspire to trap Snuffy, forcing him to stick around (trigger warning: Elmo abuse), and when the adults finally apologize to Big Bird for doubting him all these years, he’s … kind of a jerk about it. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BtemfoJ-WI\u003c/p>\n\u003cp>\u003cstrong>19. Sweetums\u003c/strong>\u003c/p>\n\u003cp>People sometimes forget about Sweetums, which is consistent with the way he’s left behind in \u003cem>The Muppet Movie \u003c/em>and has to chase the group all the way to Hollywood. All he wants is to be included! All he wants is to be in the movie! He’s fundamentally a big lug with a heart of gold, and he could also protect you in the event of a bar fight. It seems only right that he and Snuffy are next to each other on this list, because they’re both big and furry, but Sweetums, for all his might of body and mildness of soul, plays a unique role in Muppet World. He represents the idea of the benevolent super-monster: the scary thing that’s less scary once you look at it up close. — \u003cem>Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>18. Ernie \u003c/strong>\u003c/p>\n\u003cp>Quite simply, Ernie should be much higher than this. “\u003ca href=\"https://www.youtube.com/watch?v=Mh85R-S-dh8\" target=\"_blank\" rel=\"noopener noreferrer\">Rubber Duckie\u003c/a>“! “\u003ca href=\"https://www.youtube.com/watch?v=kIq8jLj5TzU\" target=\"_blank\" rel=\"noopener noreferrer\">I Don’t Want to Live on the Moon\u003c/a>“! The\u003ca href=\"https://www.youtube.com/watch?v=pigcahytIH8\" target=\"_blank\" rel=\"noopener noreferrer\"> innocent chaos\u003c/a> he wields upon the uptight Bert! He’s a wild one, but he’s also incredibly endearing; why else would Bert put up with this madness for so many years? Surely he’s earned enough \u003cem>Sesame Street \u003c/em>royalties at this point to be able to afford a studio apartment for himself, yet he knows—and we all know—that Ernie is a lovable sweetheart who just wants to enjoy life. #JusticeforErnie. — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>17. Sam the Eagle\u003c/strong>\u003c/p>\n\u003cp>I’d have liked to see Sam roosting in a higher perch on this list, but apparently not all of us so deeply empathize with the big, dour lug. It’s not his politics we identify with, necessarily, nor his default moral outrage. No, some of us just respond to his whole vibe, which I will herewith attempt to distill to its essence: I never know what’s going on, and I never understand what anyone’s talking about, but if I did? I wouldn’t like it. —\u003cem> Glen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>16. Pepe the King Prawn \u003c/strong>\u003c/p>\n\u003cp>Some might scoff at the presence of Pepe on any list of Greatest Muppets. Not me, though I’m admittedly surprised this Spanish lothario was able to find his way into the Top 25, and above the likes of Bert and Ernie to boot. Maybe it’s all those years serving as the “\u003ca href=\"https://www.youtube.com/watch?v=8VPu841BmOs\" target=\"_blank\" rel=\"noopener noreferrer\">spokes-shrimp\u003c/a>” for the fast-food chain Long John Silver’s? Or perhaps it’s because he was\u003ca href=\"https://slate.com/culture/2015/11/pepe-the-king-prawn-on-the-muppets-is-the-best-part-of-the-disappointing-new-show-video.html\" target=\"_blank\" rel=\"noopener noreferrer\"> the best thing\u003c/a> about that ill-advised primetime sitcom \u003cem>The Muppets\u003c/em>? — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>15. Janice \u003c/strong>\u003c/p>\n\u003cp>Fer sure, yes, this ranking makes sense. I’m convinced we all wish we could be just a little bit like Janice: kind of aloof to everything going on around her, and thus eternally chill. — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zRgNW1Xp-JI\u003c/p>\n\u003cp>\u003cstrong>14. Big Bird \u003c/strong>\u003c/p>\n\u003cp>For a lot of us—especially if we were pre-Elmo kids—Big Bird was one of the founding Muppets of our minds, even though unlike most of the group, he walked around on two legs. There’s something about his name, Big Bird, that speaks profoundly to how sweet and simple the connection is between little kids and this naive, sometimes confused soul. He’s just this… really Big Bird. He walked a lot of kids through their first \u003ca href=\"https://www.youtube.com/watch?v=gxlj4Tk83xQ&ab_channel=TVBumpersCommercials\" target=\"_blank\" rel=\"noopener noreferrer\">experience with death\u003c/a> when Mr. Hooper died, and he eventually demonstrated that he had been right all along about his very real, very mammoth friend Snuffy. Trust in Big Bird. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>13. Oscar the Grouch \u003c/strong>\u003c/p>\n\u003cp>Most of what happened on \u003cem>Sesame Street \u003c/em>was upbeat and colorful. So there’s something so delightfully rebellious and brilliant about the inclusion of a grungy, curmudgeonly green monster who literally lives in a garbage can and sings \u003ca href=\"https://www.youtube.com/watch?v=rxgWHzMvXOY&ab_channel=SesameStreet\" target=\"_blank\" rel=\"noopener noreferrer\">“I Love Trash.”\u003c/a> It’s great to show the power of hugs, but it might be just as important to underscore that not everyone is a hugger, and you can make a guy part of your community even though he doesn’t give you a lot to work with. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rxgWHzMvXOY\u003c/p>\n\u003cp>\u003cstrong>12. Rizzo the Rat \u003c/strong>\u003c/p>\n\u003cp>I suspect that Rizzo landed this high—above Big Bird!—thanks to millennials whose Muppet references are more about the later films like \u003cem>Muppet Treasure Island \u003c/em>and \u003cem>The Muppet Christmas Carol\u003c/em> than they are about \u003cem>The Muppet Show\u003c/em>, where Rizzo showed up fairly late in the series run as the leader of a gang of rats running wild in the theater. Rizzo started out small but went on to pop up in several of the films, always retaining his identity as a somewhat sketchy but basically decent pal, especially to Gonzo. I’m not so much a Rizzo girl myself, but to all of you who are: I respect your dedication to this little rat. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>11. Cookie Monster\u003c/strong>\u003c/p>\n\u003cp>The amazing thing about Cookie Monster is that he never ate a cookie. All Cookie Monster does is mouth the cookie until it flies into pieces. What Cookie Monster is about is the \u003cem>desire\u003c/em> for the cookie. The \u003cem>passion\u003c/em> for the cookie. The \u003cem>thrill\u003c/em> of the cookie. In this way, Cookie Monster is a perfect encapsulation of the preschool id: hungry, needy, hyper, and eternally hopeful that this time, there will be a snack. He should really be in the top ten, you guys. Even if only for \u003ca href=\"https://www.youtube.com/watch?v=Ye8mB6VsUHw&ab_channel=SesameStreet\" target=\"_blank\" rel=\"noopener noreferrer\">“C Is For Cookie.”\u003c/a> — \u003cem>Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>10. Statler and Waldorf\u003c/strong>\u003c/p>\n\u003cp>It was inevitable so many would vote for this curmudgeonly duo because they represent the viewer’s id so explicitly.\u003ca href=\"https://www.youtube.com/watch?v=mreHiXkWB-s\" target=\"_blank\" rel=\"noopener noreferrer\"> Why do they always come here\u003c/a>? I guess we’ll never know. But we are all Statler & Waldorf—sitting in that balcony while cracking wise at all those corny puns—and Statler & Waldorf are us. — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=14njUwJUg1I\u003c/p>\n\u003cp>\u003cstrong>9. Swedish Chef \u003c/strong>\u003c/p>\n\u003cp>Many Muppets contain multitudes; Swedish Chef does not. He’s your classic Chaos Muppet—all \u003cem>hurr-guh-durr\u003c/em> and knives sticking into walls and fish flying to and fro, with human hands, no less, and without your romantic subplots or hazy origin stories or bittersweet pining for adventure and meaning. He’s the hilarious, Muppety, \u003ca href=\"https://www.youtube.com/watch?v=YN1hL9cn7s0&ab_channel=TheGilsonStation\" target=\"_blank\" rel=\"noopener noreferrer\">“Bork! Bork! Bork!”\u003c/a> embodiment of what every little kid wants to be doing in the kitchen at all times. \u003cem>— Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8. Miss Piggy\u003c/strong>\u003c/p>\n\u003cp>Who among the Muppets can say that they’ve been presented with an award for being a feminist trailblazer while being \u003ca href=\"https://www.youtube.com/watch?v=biyv8kmKwEE\" target=\"_blank\" rel=\"noopener noreferrer\">interviewed by Gloria Steinem\u003c/a>? Heck, who among us \u003cem>humans \u003c/em>can say they’ve been so honored? Well, Miss Piggy can. Because she is the epitome of chutzpah, glamour, and narciss\u003cem>—\u003c/em>er, self-confidence. I truly hope this most fabulous swine doesn’t get wind of our list, because the last thing we’d want is an angry email (or\u003ca href=\"https://www.youtube.com/watch?v=lkFHdbpVpC8\" target=\"_blank\" rel=\"noopener noreferrer\"> karate chop\u003c/a>) from her publicist for not having ranked her higher. Piggy should at least crack the top five of Greatest Muppets, “\u003cem>moi\u003c/em>” who has given us one of culture’s most storied\u003ca href=\"https://www.youtube.com/watch?v=q2DELDQAXT8\" target=\"_blank\" rel=\"noopener noreferrer\"> on-again/off-again romances\u003c/a>; this\u003ca href=\"https://www.youtube.com/watch?v=nbbNHyjgjw4\" target=\"_blank\" rel=\"noopener noreferrer\"> amazingly awkward Larry King interview\u003c/a>; and “\u003ca href=\"https://www.youtube.com/watch?v=oK52qGcpdzo\" target=\"_blank\" rel=\"noopener noreferrer\">Snackersize\u003c/a>.” — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7. Fozzie Bear \u003c/strong>\u003c/p>\n\u003cp>Fozzie Bear’s dreams of comedic greatness are unattainable, his optimism smacks of desperation and delusion, his jokes (such as they are) exist mostly to provide opportunities for Statler and Waldorf to perform windmill dunks at his expense, and his signature catchphrase (“wocka wocka wocka!”) is a tragic cry for validation. He’s all sweaty effort, all the time, in that way that so many of us get when we’re pursuing the acceptance of others. So how do you make Fozzie lovable without also making him… deeply sad?\u003c/p>\n\u003cp>The secret lies, at least in part, in the aforementioned optimism: Fozzie is a dreamer, and a sweetly soulful one at that. If you can’t be great, being liked is a hell of a consolation prize. \u003cem>— Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6. Grover \u003c/strong>\u003c/p>\n\u003cp>I’d have thought everyone’s lovable furry pal would have made the Top 5 easy, but this is still a perfectly respectable showing. What’s not to love? He’s cute and he knows it, but there’s so much more to him than that. He’s put in time in the \u003ca href=\"https://www.youtube.com/watch?v=sIucCUyZF0g&ab_channel=SesameStreet\">food-service industry\u003c/a> (relatable!), he’s gotten his cardio in teaching us the difference between near and far (selfless!), and he’s also, not for nothing, a superhero. And if all that weren’t enough, his masterwork, \u003cem>The Monster at the End of This Book\u003c/em>, introduced successive generations to poststructuralist metanarrative; he’s a li’l fuzzy blue Michel Foucault, is what he is. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sIucCUyZF0g\u003c/p>\n\u003cp>\u003cstrong>5. Rowlf\u003c/strong>\u003c/p>\n\u003cp>The people have spoken; the people are wrong. Both of these things can be true. Come on, Rowlf in \u003cem>fifth \u003c/em>place? Below the jamoke at No. 4? The one-note placeholder at No. 3? Pshaw. Rowlf belongs atop this chart, bestriding it like a fuzzy brown floppy-eared Colossus, for several(!) manifold(!) \u003ca href=\"https://www.npr.org/2021/03/29/982279931/our-favorite-muppets\" target=\"_blank\" rel=\"noopener noreferrer\">reasons I enumerated on our “Favorite Muppets” \u003c/a>episode, but essentially: He rejects and transcends the reductive Chaos Muppet/Order Muppet binary. He can often seem like the only adult in the room (and when Kermit is in said room, that’s saying something), but his vibe is different from that of the frog.\u003c/p>\n\u003cp>Where Kermit is always a real Dr. Buzzkill, a square, a narc, Rowlf is part of the game. He’s preternaturally chill; he can hang. Add that to the fact that \u003ca href=\"https://www.youtube.com/watch?v=iZ7nowJ87HU\" target=\"_blank\" rel=\"noopener noreferrer\">with numbers like “You and I and George,” in which he mixes humorous stories with song\u003c/a>, he’s bringing cabaret to the children. That’s iconic, that’s queer energy; Rowlf is the best Muppet, hands down, paws up. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4. Beaker \u003c/strong>\u003c/p>\n\u003cp>The Yiddish words \u003cem>schlemiel\u003c/em> and \u003cem>schlimazel\u003c/em> aren’t just colorful language we remember from \u003cem>Laverne & Shirley\u003c/em> reruns; they’re also deeply useful phrases used to signify oafish incompetence and a tendency to encounter misfortune, respectively. The general device folks use to tell the words apart is that a schlemiel is the waiter spilling the soup in your lap (Grover, perhaps?) and a schlimazel is the unfortunate soul onto whom that soup is spilled.\u003c/p>\n\u003cp>Poor, pitiful, shrieking Beaker is \u003cem>The Muppet Show\u003c/em>‘s great schlimazel—and thus a vessel through which we could compartmentalize the most put-upon moments of our youth. We’d come home from a school day in which our lunch tray got knocked out of our hands, or maybe we racked ourselves sliding down that awful rope in gym class, and there was Beaker, embodying our awkwardness, our victimhood and our pain alongside Dr. Bunsen Honeydew, himself an avatar for an unfeeling God. \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>3. Animal \u003c/strong>\u003c/p>\n\u003cp>No Muppet captures pure Muppet-ness quite like Animal. The drummer for the Electric Mayhem is really just a skinny body topped with a head like a pink firework, the long hair (fur?) blossoming from his head above a single heavy, dark, fluttering eyebrow. All he has to work with is his giant mouth and that line of eyebrows, and yet you can tell when he’s happy or excited (which is usually) or disappointed (sometimes) or exhausted (he’s the Muppet most likely to pant). Given to phrases like “That’s my kind of woman” and “eat drums,” Animal can’t really be called a sophisticate. But perhaps his function is to remind us that there is a place for a pure, growling… well, animal. And if you’ve never seen him accompany \u003ca href=\"https://www.youtube.com/watch?v=b_IpgKzy75E&ab_channel=till90s\">Rita Moreno’s rendition of “Fever,”\u003c/a> I have to tell you that you’re really missing out. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b_IpgKzy75E\u003c/p>\n\u003cp>\u003cstrong>2. Gonzo\u003c/strong>\u003c/p>\n\u003cp>Anyone who’s ever felt like a weirdo or an “other”—or, to quote \u003cem>The Great Muppet Caper\u003c/em>, a “whatever”—knows where Gonzo is coming from, even if his own origin story has been circuitous and slow to unfold. A dapper Chaos Muppet capable of bearing serious emotional weight, Gonzo is an entertainer \u003cem>and\u003c/em> an artiste: an avant-garde daredevil whose act might cite poetry or shoot him out of a cannon, or somehow combine the two. He’s also, like our listeners’ No. 1 Muppet, a serious romantic leading man—just ask the chickens. \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>1. Kermit\u003c/strong>\u003c/p>\n\u003cp>Look, it’s hard—and uncouth—to rank our friends. But if one of your friends ran a hit TV show, starred in a string of successful movies, stormed the pop charts with a song \u003ca href=\"https://www.nme.com/news/music/library-of-congress-to-add-kermit-the-frogs-the-rainbow-connection-to-archives-of-important-recordings-2907621\" target=\"_blank\" rel=\"noopener noreferrer\">so indelible\u003c/a> it just got named to the Library of Congress’ National Recording Registry, and launched memes that came to signify everything from unbridled enthusiasm to \u003ca href=\"https://www.bustle.com/p/what-is-the-kermit-sipping-tea-meme-a-history-of-this-muppets-shade-69015\" target=\"_blank\" rel=\"noopener noreferrer\">staying above the fray\u003c/a>, you’d be pretty psyched about that friend, no?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A model of spare and efficient design, Kermit the Frog is a wonder of unadorned expressiveness, with a face that can speak volumes and spark laughter through the simple clenching and curling of fingers. The guy has it all: He’s a leading man and lust object (to Miss Piggy, at least), an exasperated workhorse who toils to keep the lights on, an earnest striver who pines for a place in the world. He’s an avatar of gentle grace; of goodness; of weary bafflement. He’s our friend. \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13895141\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/1634675a_wide-484c99bff19d9c85263dab0f0b46a73539252fec-800x450.jpg\" alt=\"Kermit the Frog in 'The Muppets Take Manhattan.' Kermit has been in a class of his own since many of us were itty bitty babies. Maybe even longer.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Seen here in ‘The Muppets Take Manhattan,’ Kermit the Frog has been in a class of his own since many of us were itty bitty babies. Maybe even longer. \u003ccite>(Moviestore/Shutterstock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=A+Ruthless+Ranking+Of+The+25+Best+Muppets%2C+According+To+Listeners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we asked our trusty \u003cem>Pop Culture Happy Hour\u003c/em> listeners to vote for the Best Muppet, we knew they’d come through. Over 18,000 votes were cast; over 150 different Muppets received votes.\u003c/p>\n\u003cp>Yes. Some brave, beautiful, misguided soul voted for \u003ca href=\"https://www.youtube.com/watch?v=iKSGF4Ufso8\" target=\"_blank\" rel=\"noopener noreferrer\">H. Ross Parrot\u003c/a>. As \u003cem>Best \u003c/em>Muppet. That is a thing that happened.\u003c/p>\n\u003cp>Someone else—you can always count on PCHH listeners to bring the deep, \u003cem>deep \u003c/em>cuts—cast a single vote for\u003ca href=\"https://www.youtube.com/watch?v=4bfdaR4xMeU\" target=\"_blank\" rel=\"noopener noreferrer\"> Delbert the La Choy Dragon\u003c/a>.\u003c/p>\n\u003cp>But naturally enough, votes accreted around the Muppets with greater notoriety. (Sorry, Ma Otter, it’s not your time.) On Friday’s episode of Pop Culture Happy Hour, we reveal the top ten vote-getters, so stop reading now if you want to listen and be surprised.\u003c/p>\n\u003cp>Here, though, we’ll tick off your top 25.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We established some ground rules, of course. Which made our daily PCHH Zoom call a place where the thorniest philosophical questions of our time were pondered: Should Statler and Waldorf be considered separately, or as a pair? What about Bert and Ernie? Dr. Bunsen Honeydew and Beaker?\u003c/p>\n\u003cp>Here’s where we landed:\u003c/p>\n\u003cul>\n\u003cli>Any Muppet from any property or era was eligible, including \u003cem>The Muppet Show, Muppet Babies, Fraggle Rock, Sesame Street, Labyrinth\u003c/em>, etc.\u003c/li>\n\u003cli>We counted all variations of a Muppet character in a group. Thus, Gonzo the Great and Gonzo from \u003cem>Muppet Babies\u003c/em> both count as Gonzo.\u003c/li>\n\u003cli>Some Muppets were counted as a set, like Statler and Waldorf.\u003c/li>\n\u003cli>Others were counted individually, most notably Beaker and Dr. Bunsen Honeydew, as well as Bert and Ernie. The Fraggles of \u003cem>Fraggle Rock\u003c/em> were also counted individually.\u003c/li>\n\u003cli>We disqualified other puppets that are NOT Muppets, including Yoda (he’s really, really not a Muppet, guys, look it up) and the cast of \u003cem>Avenue Q\u003c/em>.\u003c/li>\n\u003cli>We also disqualified human actors in Muppet movies, like Jason Segel, Tim Curry, Michael Caine, and Charles Grodin.\u003c/li>\n\u003c/ul>\n\u003cp>So here they are, the Top 25 Best Muppets, according to the discerning, and impassioned, Pop Culture Happy Hour audience.\u003c/p>\n\u003cp>\u003cstrong>25. Count von Count\u003c/strong>\u003c/p>\n\u003cp>The ultimate Order Muppet. Nice to see the Count showing up here, repping \u003cem>Sesame Street \u003c/em>(he’s one of only 10 \u003cem>Sesame Street\u003c/em> Muppets to make the top 25, surprisingly enough). (Justice for Prairie Dawn, by the way.) He always scared the hell out of me — I didn’t care for those bats forever flitting around his widow’s peak, or for his ability to call forth thunder and lightning—but if you were a kid prone to obsessive behavior, you likely saw, in his compulsion to apportion the chaotic world around him into neat, quantitative chunks, a kindred spirit. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>24. Dr. Teeth \u003c/strong>\u003c/p>\n\u003cp>It pleases me that this talented musician, he of the brightly decorated tour bus and the funkiest and furriest band, made it onto the list. Honestly, it took a while for me, as a young person, to truly appreciate the groovy greatness of Dr. Teeth and the Electric Mayhem (one of the great band names). There’s a way in which the group calls gently to hippies, cool cats, and maybe even (gasp) stoners, that doesn’t matter to little kids but is a little bit funny when you’re older. Plus, particularly in \u003cem>The Muppet Movie\u003c/em>, Dr. Teeth is a key part of the winking, knowing, audience-acknowledging part of Muppet lore. He leads the band. He provides the hot tunes. The doctor is always in. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>23. Bert \u003c/strong>\u003c/p>\n\u003cp>His saddle shoes. His paperclip collection. His love of pigeons, and of the letter W. His bold, if defiantly out-of-step sartorial sensibility (a turtleneck under a v-neck? Why not?) His embrace of rules and order. His simultaneous fondness for, and exasperation with, his less uptight other half. Let’s face it—Bert was the very first nerd millions of us ever encountered. With a thunderbolt of recognition, we saw ourselves in his pained glares, heard ourselves in his monotone staccato laughter. He showed millions the path to fully embrace—nay, to positively \u003cem>exalt \u003c/em>in—our dorkiest, most basic selves. Other nerds in mass media would come later, of course. But he was our first. — \u003cem>Glen\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/biAMh-xdvJc'\n title='//www.youtube.com/embed/biAMh-xdvJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>22. Elmo \u003c/strong>\u003c/p>\n\u003cp>Elmo gets a bad rap for the same reasons Barney the Dinosaur did at the height of his fame: Parents find him overly cloying and oversaturated. Ground Zero for this animosity has to be \u003ca href=\"https://www.npr.org/2017/12/25/573365529/remembering-that-must-have-toy-from-past-christmases\" target=\"_blank\" rel=\"noopener noreferrer\">Tickle Me Elmo\u003c/a>, of course. By the mid-’90s, I had graduated from the streets of sesame to the green slime of Nickelodeon, so I was a bit too old to get wrapped up in the craze, but I have vivid memories of the parodies and news reports of grown adults fighting each other to get their hands on the toy. And for a time, I had to live with one of those bad boys, courtesy of my little sister. (It was just as annoying and creepy as a toy can get.) Then came The Takeover a.k.a. the recurring segment “Elmo’s World,” and this furry monster—who refers to himself in the third Muppet—became inescapable.\u003c/p>\n\u003cp>And yet… here he is, sliding into the Top 25 on this list, presumably voted on by adults rather than 5-year-olds who wouldn’t know any better. There are two reasons for this, I think. For one, if you were a millennial like myself, you probably have fewer negative memories of him than those who were exasperated parents or childcare workers at the time of Peak Elmo. But also, in this era of social media, Elmo remains one of the\u003ca href=\"https://knowyourmeme.com/memes/elmo-rise\"> most\u003c/a>\u003ca href=\"https://giphy.com/search/elmo\" target=\"_blank\" rel=\"noopener noreferrer\"> memeable\u003c/a> of all Muppets. In fact, he’s transcended \u003cem>Sesame Street \u003c/em>to become arguably\u003ca href=\"https://twitter.com/TheDillonOne/status/1376323244828024837\" target=\"_blank\" rel=\"noopener noreferrer\"> at his best\u003c/a> in meme form. That’s gotta count for something, I guess! — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>21. Scooter \u003c/strong>\u003c/p>\n\u003cp>A late-’70s shortstop whose batting average generally hovered around .200, Mario Mendoza provides the origin point for the term “The Mendoza Line,” which refers to that hazy boundary separating “just good enough to stay employed” from “not good enough.” From this moment forward, let that line be renamed “The Scooter Line,” which separates the great Muppets—your Ernies, your Sams the Eagle, your Snuffleupagii—from, well, Elmo. (Note: This analogy falls apart when you scroll further up, because Bert, Dr. Teeth, and the Count are all awesome.)\u003c/p>\n\u003cp>Seriously, how did Scooter come in at No. 21? \u003cem>Scooter\u003c/em>?! The guy who only got his job at The Muppet Theatre because his uncle J.P. Grosse owned the venue? The guy whose signature catchphrase involved the number of seconds before actual entertainment was to take place? Is it because Scooter’s glasses double as his actual eyeballs? Is \u003cem>that\u003c/em> how we’re measuring quality these days? \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>20. Snuffleupagus\u003c/strong>\u003c/p>\n\u003cp>Painfully shy. Soulful and sweet. With an eyelash game that Bianca Del Rio would envy. Snuffy began life as Big Bird’s best friend, whom the adults of Sesame Street considered imaginary. This frustrated Big Bird, but in their defense, Snuffy did tend to ditch Big Bird, suddenly, repeatedly, like Big Bird was Commissioner Gordon and Snuffy some kind of fuzzy pachydermic Batman. Eventually, the folks at Children’s Television Workshop realized that having adults roll their eyes at Big Bird’s stories of Snuffy maybe wasn’t sending kids, you know, the \u003cem>best \u003c/em>message? On YouTube you can watch the moment, in 1985, when the adults finally see Snuffy, and it? Is weird. And not a little sinister: Big Bird and Elmo conspire to trap Snuffy, forcing him to stick around (trigger warning: Elmo abuse), and when the adults finally apologize to Big Bird for doubting him all these years, he’s … kind of a jerk about it. — \u003cem>Glen\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_BtemfoJ-WI'\n title='//www.youtube.com/embed/_BtemfoJ-WI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>19. Sweetums\u003c/strong>\u003c/p>\n\u003cp>People sometimes forget about Sweetums, which is consistent with the way he’s left behind in \u003cem>The Muppet Movie \u003c/em>and has to chase the group all the way to Hollywood. All he wants is to be included! All he wants is to be in the movie! He’s fundamentally a big lug with a heart of gold, and he could also protect you in the event of a bar fight. It seems only right that he and Snuffy are next to each other on this list, because they’re both big and furry, but Sweetums, for all his might of body and mildness of soul, plays a unique role in Muppet World. He represents the idea of the benevolent super-monster: the scary thing that’s less scary once you look at it up close. — \u003cem>Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>18. Ernie \u003c/strong>\u003c/p>\n\u003cp>Quite simply, Ernie should be much higher than this. “\u003ca href=\"https://www.youtube.com/watch?v=Mh85R-S-dh8\" target=\"_blank\" rel=\"noopener noreferrer\">Rubber Duckie\u003c/a>“! “\u003ca href=\"https://www.youtube.com/watch?v=kIq8jLj5TzU\" target=\"_blank\" rel=\"noopener noreferrer\">I Don’t Want to Live on the Moon\u003c/a>“! The\u003ca href=\"https://www.youtube.com/watch?v=pigcahytIH8\" target=\"_blank\" rel=\"noopener noreferrer\"> innocent chaos\u003c/a> he wields upon the uptight Bert! He’s a wild one, but he’s also incredibly endearing; why else would Bert put up with this madness for so many years? Surely he’s earned enough \u003cem>Sesame Street \u003c/em>royalties at this point to be able to afford a studio apartment for himself, yet he knows—and we all know—that Ernie is a lovable sweetheart who just wants to enjoy life. #JusticeforErnie. — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>17. Sam the Eagle\u003c/strong>\u003c/p>\n\u003cp>I’d have liked to see Sam roosting in a higher perch on this list, but apparently not all of us so deeply empathize with the big, dour lug. It’s not his politics we identify with, necessarily, nor his default moral outrage. No, some of us just respond to his whole vibe, which I will herewith attempt to distill to its essence: I never know what’s going on, and I never understand what anyone’s talking about, but if I did? I wouldn’t like it. —\u003cem> Glen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>16. Pepe the King Prawn \u003c/strong>\u003c/p>\n\u003cp>Some might scoff at the presence of Pepe on any list of Greatest Muppets. Not me, though I’m admittedly surprised this Spanish lothario was able to find his way into the Top 25, and above the likes of Bert and Ernie to boot. Maybe it’s all those years serving as the “\u003ca href=\"https://www.youtube.com/watch?v=8VPu841BmOs\" target=\"_blank\" rel=\"noopener noreferrer\">spokes-shrimp\u003c/a>” for the fast-food chain Long John Silver’s? Or perhaps it’s because he was\u003ca href=\"https://slate.com/culture/2015/11/pepe-the-king-prawn-on-the-muppets-is-the-best-part-of-the-disappointing-new-show-video.html\" target=\"_blank\" rel=\"noopener noreferrer\"> the best thing\u003c/a> about that ill-advised primetime sitcom \u003cem>The Muppets\u003c/em>? — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>15. Janice \u003c/strong>\u003c/p>\n\u003cp>Fer sure, yes, this ranking makes sense. I’m convinced we all wish we could be just a little bit like Janice: kind of aloof to everything going on around her, and thus eternally chill. — \u003cem>Aisha\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zRgNW1Xp-JI'\n title='//www.youtube.com/embed/zRgNW1Xp-JI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>14. Big Bird \u003c/strong>\u003c/p>\n\u003cp>For a lot of us—especially if we were pre-Elmo kids—Big Bird was one of the founding Muppets of our minds, even though unlike most of the group, he walked around on two legs. There’s something about his name, Big Bird, that speaks profoundly to how sweet and simple the connection is between little kids and this naive, sometimes confused soul. He’s just this… really Big Bird. He walked a lot of kids through their first \u003ca href=\"https://www.youtube.com/watch?v=gxlj4Tk83xQ&ab_channel=TVBumpersCommercials\" target=\"_blank\" rel=\"noopener noreferrer\">experience with death\u003c/a> when Mr. Hooper died, and he eventually demonstrated that he had been right all along about his very real, very mammoth friend Snuffy. Trust in Big Bird. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>13. Oscar the Grouch \u003c/strong>\u003c/p>\n\u003cp>Most of what happened on \u003cem>Sesame Street \u003c/em>was upbeat and colorful. So there’s something so delightfully rebellious and brilliant about the inclusion of a grungy, curmudgeonly green monster who literally lives in a garbage can and sings \u003ca href=\"https://www.youtube.com/watch?v=rxgWHzMvXOY&ab_channel=SesameStreet\" target=\"_blank\" rel=\"noopener noreferrer\">“I Love Trash.”\u003c/a> It’s great to show the power of hugs, but it might be just as important to underscore that not everyone is a hugger, and you can make a guy part of your community even though he doesn’t give you a lot to work with. —\u003cem> Linda\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rxgWHzMvXOY'\n title='//www.youtube.com/embed/rxgWHzMvXOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>12. Rizzo the Rat \u003c/strong>\u003c/p>\n\u003cp>I suspect that Rizzo landed this high—above Big Bird!—thanks to millennials whose Muppet references are more about the later films like \u003cem>Muppet Treasure Island \u003c/em>and \u003cem>The Muppet Christmas Carol\u003c/em> than they are about \u003cem>The Muppet Show\u003c/em>, where Rizzo showed up fairly late in the series run as the leader of a gang of rats running wild in the theater. Rizzo started out small but went on to pop up in several of the films, always retaining his identity as a somewhat sketchy but basically decent pal, especially to Gonzo. I’m not so much a Rizzo girl myself, but to all of you who are: I respect your dedication to this little rat. —\u003cem> Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>11. Cookie Monster\u003c/strong>\u003c/p>\n\u003cp>The amazing thing about Cookie Monster is that he never ate a cookie. All Cookie Monster does is mouth the cookie until it flies into pieces. What Cookie Monster is about is the \u003cem>desire\u003c/em> for the cookie. The \u003cem>passion\u003c/em> for the cookie. The \u003cem>thrill\u003c/em> of the cookie. In this way, Cookie Monster is a perfect encapsulation of the preschool id: hungry, needy, hyper, and eternally hopeful that this time, there will be a snack. He should really be in the top ten, you guys. Even if only for \u003ca href=\"https://www.youtube.com/watch?v=Ye8mB6VsUHw&ab_channel=SesameStreet\" target=\"_blank\" rel=\"noopener noreferrer\">“C Is For Cookie.”\u003c/a> — \u003cem>Linda\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>10. Statler and Waldorf\u003c/strong>\u003c/p>\n\u003cp>It was inevitable so many would vote for this curmudgeonly duo because they represent the viewer’s id so explicitly.\u003ca href=\"https://www.youtube.com/watch?v=mreHiXkWB-s\" target=\"_blank\" rel=\"noopener noreferrer\"> Why do they always come here\u003c/a>? I guess we’ll never know. But we are all Statler & Waldorf—sitting in that balcony while cracking wise at all those corny puns—and Statler & Waldorf are us. — \u003cem>Aisha\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/14njUwJUg1I'\n title='//www.youtube.com/embed/14njUwJUg1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>9. Swedish Chef \u003c/strong>\u003c/p>\n\u003cp>Many Muppets contain multitudes; Swedish Chef does not. He’s your classic Chaos Muppet—all \u003cem>hurr-guh-durr\u003c/em> and knives sticking into walls and fish flying to and fro, with human hands, no less, and without your romantic subplots or hazy origin stories or bittersweet pining for adventure and meaning. He’s the hilarious, Muppety, \u003ca href=\"https://www.youtube.com/watch?v=YN1hL9cn7s0&ab_channel=TheGilsonStation\" target=\"_blank\" rel=\"noopener noreferrer\">“Bork! Bork! Bork!”\u003c/a> embodiment of what every little kid wants to be doing in the kitchen at all times. \u003cem>— Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8. Miss Piggy\u003c/strong>\u003c/p>\n\u003cp>Who among the Muppets can say that they’ve been presented with an award for being a feminist trailblazer while being \u003ca href=\"https://www.youtube.com/watch?v=biyv8kmKwEE\" target=\"_blank\" rel=\"noopener noreferrer\">interviewed by Gloria Steinem\u003c/a>? Heck, who among us \u003cem>humans \u003c/em>can say they’ve been so honored? Well, Miss Piggy can. Because she is the epitome of chutzpah, glamour, and narciss\u003cem>—\u003c/em>er, self-confidence. I truly hope this most fabulous swine doesn’t get wind of our list, because the last thing we’d want is an angry email (or\u003ca href=\"https://www.youtube.com/watch?v=lkFHdbpVpC8\" target=\"_blank\" rel=\"noopener noreferrer\"> karate chop\u003c/a>) from her publicist for not having ranked her higher. Piggy should at least crack the top five of Greatest Muppets, “\u003cem>moi\u003c/em>” who has given us one of culture’s most storied\u003ca href=\"https://www.youtube.com/watch?v=q2DELDQAXT8\" target=\"_blank\" rel=\"noopener noreferrer\"> on-again/off-again romances\u003c/a>; this\u003ca href=\"https://www.youtube.com/watch?v=nbbNHyjgjw4\" target=\"_blank\" rel=\"noopener noreferrer\"> amazingly awkward Larry King interview\u003c/a>; and “\u003ca href=\"https://www.youtube.com/watch?v=oK52qGcpdzo\" target=\"_blank\" rel=\"noopener noreferrer\">Snackersize\u003c/a>.” — \u003cem>Aisha\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7. Fozzie Bear \u003c/strong>\u003c/p>\n\u003cp>Fozzie Bear’s dreams of comedic greatness are unattainable, his optimism smacks of desperation and delusion, his jokes (such as they are) exist mostly to provide opportunities for Statler and Waldorf to perform windmill dunks at his expense, and his signature catchphrase (“wocka wocka wocka!”) is a tragic cry for validation. He’s all sweaty effort, all the time, in that way that so many of us get when we’re pursuing the acceptance of others. So how do you make Fozzie lovable without also making him… deeply sad?\u003c/p>\n\u003cp>The secret lies, at least in part, in the aforementioned optimism: Fozzie is a dreamer, and a sweetly soulful one at that. If you can’t be great, being liked is a hell of a consolation prize. \u003cem>— Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6. Grover \u003c/strong>\u003c/p>\n\u003cp>I’d have thought everyone’s lovable furry pal would have made the Top 5 easy, but this is still a perfectly respectable showing. What’s not to love? He’s cute and he knows it, but there’s so much more to him than that. He’s put in time in the \u003ca href=\"https://www.youtube.com/watch?v=sIucCUyZF0g&ab_channel=SesameStreet\">food-service industry\u003c/a> (relatable!), he’s gotten his cardio in teaching us the difference between near and far (selfless!), and he’s also, not for nothing, a superhero. And if all that weren’t enough, his masterwork, \u003cem>The Monster at the End of This Book\u003c/em>, introduced successive generations to poststructuralist metanarrative; he’s a li’l fuzzy blue Michel Foucault, is what he is. — \u003cem>Glen\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sIucCUyZF0g'\n title='//www.youtube.com/embed/sIucCUyZF0g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. Rowlf\u003c/strong>\u003c/p>\n\u003cp>The people have spoken; the people are wrong. Both of these things can be true. Come on, Rowlf in \u003cem>fifth \u003c/em>place? Below the jamoke at No. 4? The one-note placeholder at No. 3? Pshaw. Rowlf belongs atop this chart, bestriding it like a fuzzy brown floppy-eared Colossus, for several(!) manifold(!) \u003ca href=\"https://www.npr.org/2021/03/29/982279931/our-favorite-muppets\" target=\"_blank\" rel=\"noopener noreferrer\">reasons I enumerated on our “Favorite Muppets” \u003c/a>episode, but essentially: He rejects and transcends the reductive Chaos Muppet/Order Muppet binary. He can often seem like the only adult in the room (and when Kermit is in said room, that’s saying something), but his vibe is different from that of the frog.\u003c/p>\n\u003cp>Where Kermit is always a real Dr. Buzzkill, a square, a narc, Rowlf is part of the game. He’s preternaturally chill; he can hang. Add that to the fact that \u003ca href=\"https://www.youtube.com/watch?v=iZ7nowJ87HU\" target=\"_blank\" rel=\"noopener noreferrer\">with numbers like “You and I and George,” in which he mixes humorous stories with song\u003c/a>, he’s bringing cabaret to the children. That’s iconic, that’s queer energy; Rowlf is the best Muppet, hands down, paws up. — \u003cem>Glen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4. Beaker \u003c/strong>\u003c/p>\n\u003cp>The Yiddish words \u003cem>schlemiel\u003c/em> and \u003cem>schlimazel\u003c/em> aren’t just colorful language we remember from \u003cem>Laverne & Shirley\u003c/em> reruns; they’re also deeply useful phrases used to signify oafish incompetence and a tendency to encounter misfortune, respectively. The general device folks use to tell the words apart is that a schlemiel is the waiter spilling the soup in your lap (Grover, perhaps?) and a schlimazel is the unfortunate soul onto whom that soup is spilled.\u003c/p>\n\u003cp>Poor, pitiful, shrieking Beaker is \u003cem>The Muppet Show\u003c/em>‘s great schlimazel—and thus a vessel through which we could compartmentalize the most put-upon moments of our youth. We’d come home from a school day in which our lunch tray got knocked out of our hands, or maybe we racked ourselves sliding down that awful rope in gym class, and there was Beaker, embodying our awkwardness, our victimhood and our pain alongside Dr. Bunsen Honeydew, himself an avatar for an unfeeling God. \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>3. Animal \u003c/strong>\u003c/p>\n\u003cp>No Muppet captures pure Muppet-ness quite like Animal. The drummer for the Electric Mayhem is really just a skinny body topped with a head like a pink firework, the long hair (fur?) blossoming from his head above a single heavy, dark, fluttering eyebrow. All he has to work with is his giant mouth and that line of eyebrows, and yet you can tell when he’s happy or excited (which is usually) or disappointed (sometimes) or exhausted (he’s the Muppet most likely to pant). Given to phrases like “That’s my kind of woman” and “eat drums,” Animal can’t really be called a sophisticate. But perhaps his function is to remind us that there is a place for a pure, growling… well, animal. And if you’ve never seen him accompany \u003ca href=\"https://www.youtube.com/watch?v=b_IpgKzy75E&ab_channel=till90s\">Rita Moreno’s rendition of “Fever,”\u003c/a> I have to tell you that you’re really missing out. —\u003cem> Linda\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b_IpgKzy75E'\n title='//www.youtube.com/embed/b_IpgKzy75E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2. Gonzo\u003c/strong>\u003c/p>\n\u003cp>Anyone who’s ever felt like a weirdo or an “other”—or, to quote \u003cem>The Great Muppet Caper\u003c/em>, a “whatever”—knows where Gonzo is coming from, even if his own origin story has been circuitous and slow to unfold. A dapper Chaos Muppet capable of bearing serious emotional weight, Gonzo is an entertainer \u003cem>and\u003c/em> an artiste: an avant-garde daredevil whose act might cite poetry or shoot him out of a cannon, or somehow combine the two. He’s also, like our listeners’ No. 1 Muppet, a serious romantic leading man—just ask the chickens. \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>1. Kermit\u003c/strong>\u003c/p>\n\u003cp>Look, it’s hard—and uncouth—to rank our friends. But if one of your friends ran a hit TV show, starred in a string of successful movies, stormed the pop charts with a song \u003ca href=\"https://www.nme.com/news/music/library-of-congress-to-add-kermit-the-frogs-the-rainbow-connection-to-archives-of-important-recordings-2907621\" target=\"_blank\" rel=\"noopener noreferrer\">so indelible\u003c/a> it just got named to the Library of Congress’ National Recording Registry, and launched memes that came to signify everything from unbridled enthusiasm to \u003ca href=\"https://www.bustle.com/p/what-is-the-kermit-sipping-tea-meme-a-history-of-this-muppets-shade-69015\" target=\"_blank\" rel=\"noopener noreferrer\">staying above the fray\u003c/a>, you’d be pretty psyched about that friend, no?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A model of spare and efficient design, Kermit the Frog is a wonder of unadorned expressiveness, with a face that can speak volumes and spark laughter through the simple clenching and curling of fingers. The guy has it all: He’s a leading man and lust object (to Miss Piggy, at least), an exasperated workhorse who toils to keep the lights on, an earnest striver who pines for a place in the world. He’s an avatar of gentle grace; of goodness; of weary bafflement. He’s our friend. \u003cem>—Stephen\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13895141\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/1634675a_wide-484c99bff19d9c85263dab0f0b46a73539252fec-800x450.jpg\" alt=\"Kermit the Frog in 'The Muppets Take Manhattan.' Kermit has been in a class of his own since many of us were itty bitty babies. Maybe even longer.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Seen here in ‘The Muppets Take Manhattan,’ Kermit the Frog has been in a class of his own since many of us were itty bitty babies. Maybe even longer. \u003ccite>(Moviestore/Shutterstock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=A+Ruthless+Ranking+Of+The+25+Best+Muppets%2C+According+To+Listeners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns | KQED",
"content": "\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. [aside postid='arts_13894863']\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. [aside postid='arts_13866441']\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. [aside postid='arts_13888079']\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: The (Very Exciting) ‘Handmaid’s Tale’ Season 4 Trailer",
"headTitle": "Watch: The (Very Exciting) ‘Handmaid’s Tale’ Season 4 Trailer | KQED",
"content": "\u003cp>Maybe it’s for the best. If Season 4 of \u003cem>The Handmaid’s Tale\u003c/em> had arrived last summer when it was supposed to, it’s quite possible that the on-screen stress would have tipped some of us over the edge. After all, in real life, we had our own restricted movements, weird face coverings, social justice uprisings, and—checks notes—\u003cem>fear of imminent death\u003c/em> to contend with.\u003c/p>\n\u003cp>Now we have a new (read: less frightening for women) administration in place, and vaccines slowly do the job of reducing our confinement, it’s once again mentally safe to return to Gilead. And return we shall on Wednesday, April 28, when Season 4 of \u003cem>The Handmaid’s Tale\u003c/em> finally hits Hulu.\u003c/p>\n\u003cp>A brand new trailer dropped yesterday and—blessed be the fruit!—it has everything we want from this dystopia. Close-ups of the bags under June’s eyes! Fred Waterford being quietly sinister! Marthas kicking the crap out of enemies! Mrs. Waterford in fancy prison! Aunt Lydia taking a bar to the neck! Moira walking with purpose! Janine doing shaky-voice-stress-face! Luke crying a bit! And Nick doing … absolutely nothing! Oh, and there’s a bunch of explosions too. Don’t expect any neat conclusions though—\u003cem>The Handmaid’s Tale\u003c/em> has already been renewed for a fifth season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rg_160Be71g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The last time we saw Gilead, it was August 2019. On April 28, June—and the burgeoning revolution—finally returns to Hulu.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it’s for the best. If Season 4 of \u003cem>The Handmaid’s Tale\u003c/em> had arrived last summer when it was supposed to, it’s quite possible that the on-screen stress would have tipped some of us over the edge. After all, in real life, we had our own restricted movements, weird face coverings, social justice uprisings, and—checks notes—\u003cem>fear of imminent death\u003c/em> to contend with.\u003c/p>\n\u003cp>Now we have a new (read: less frightening for women) administration in place, and vaccines slowly do the job of reducing our confinement, it’s once again mentally safe to return to Gilead. And return we shall on Wednesday, April 28, when Season 4 of \u003cem>The Handmaid’s Tale\u003c/em> finally hits Hulu.\u003c/p>\n\u003cp>A brand new trailer dropped yesterday and—blessed be the fruit!—it has everything we want from this dystopia. Close-ups of the bags under June’s eyes! Fred Waterford being quietly sinister! Marthas kicking the crap out of enemies! Mrs. Waterford in fancy prison! Aunt Lydia taking a bar to the neck! Moira walking with purpose! Janine doing shaky-voice-stress-face! Luke crying a bit! And Nick doing … absolutely nothing! Oh, and there’s a bunch of explosions too. Don’t expect any neat conclusions though—\u003cem>The Handmaid’s Tale\u003c/em> has already been renewed for a fifth season.\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/rg_160Be71g'\n title='//www.youtube.com/embed/rg_160Be71g'\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": "\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” [aside postid='arts_13884889']\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. [aside postid='arts_13853443']\u003c/p>\n\u003cp>One of the things that we were talking a lot about with the show was this idea of it being out of time, that they’re going and doing things, they’re going to space, they’re going back in the past, so how do we break that up? And then that idea of “scource” as we called it, which is source and score, came to me of using these pieces. I had been soaking in things like Beyoncé’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lemonade\u003c/em> \u003c/a>and \u003cem>I Am Not Your Negro\u003c/em>. And it was hearing those voices in those poems and [James] Baldwin’s voice. And I was going, “Oh, can we do that in \u003cem>Lovecraft Country\u003c/em>?” So that was kind of our big audio swing, was this idea of taking found footage audio and placing it wholesale over scenes and using it as [a] score.\u003c/p>\n\u003cp>\u003cstrong>On her priorities for developing her own writer’s room \u003c/strong>\u003c/p>\n\u003cp>Diversity and younger writers, I think that it was important to me. It’s one of the things that I said to HBO is that I don’t want upper-level writers. They were really pushing upper-level writers, which was understandable, because it’s a very big, ambitious show, an intricate show. But for me, I was like, I want new voices. Hollywood is the biggest storytelling machine there is and we all live our lives through stories, so it is giving us a story on how to live our lives, and right now it’s a monolith of white men. And I think it’s very important to change that. So when I had my own room, I knew that it was not going to look like the rooms I had been in before and that it was going to be a struggle, too, because I think in a lot of rooms, the minority voices are not there to actually be heard. So figuring out how to encourage everybody to be like, “You have a platform here, speak up! Speak up! Let’s talk. Let’s figure it out.” [That] was also an interesting new turn for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. \u003c/p>\u003c/div>",
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"content": "\u003cp>On Sunday, the most famous container ship in the world was finally freed after blocking the Suez Canal for six days. A combination of tug boats and high tides were responsible for unsticking the Ever Given, after it got inexplicably wedged between both walls of the waterway. And while those in charge of global shipping traffic were elated to finally be out of a nearly week-long traffic jam, the internet had a very different response. By Sunday night, the phrase ‘PUT IT BACK’ was trending on Twitter.\u003c/p>\n\u003cp>https://twitter.com/carries_town/status/1376390998541148165\u003c/p>\n\u003cp>https://twitter.com/undeadartclub/status/1376391604555104258\u003c/p>\n\u003cp>https://twitter.com/LeaderGrev/status/1376384523412324354\u003c/p>\n\u003cp>Reasons for this irrational outpouring remain fairly mysterious. Perhaps there was symbolic comfort to be found in the principle that a single ship could disrupt the whole world. Perhaps, as 2021 gets rolling and we leave 2020 behind, the internet just needs one last gasp of chaos to cling to. And perhaps everyone was just enjoying the inexplicable mystery of how this doesn’t happen at least once a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were other motivations on display, Sunday night and Monday morning.\u003c/p>\n\u003cp>Some people were in it for the memes:\u003c/p>\n\u003cp>https://twitter.com/Plasmaposting/status/1376519911325982723\u003c/p>\n\u003cp>Some were in it for the merch:\u003c/p>\n\u003cp>https://twitter.com/bungeebingleton/status/1376392626220503046\u003c/p>\n\u003cp>Others thought conspiratorial forces were at play:\u003c/p>\n\u003cp>https://twitter.com/KonekoKohaku/status/1376395992636006400\u003c/p>\n\u003cp>But for some, the stillness of the Ever Given had been soothing:\u003c/p>\n\u003cp>https://twitter.com/SICKOFWOLVES/status/1376406322921496581\u003c/p>\n\u003cp>https://twitter.com/alyx_fierro/status/1376405216719818752\u003c/p>\n\u003cp>For others, the container ship’s stubborn commitment to resting in place felt personally relatable:\u003c/p>\n\u003cp>https://twitter.com/thebonecrusher_/status/1376393795961384960\u003c/p>\n\u003cp>And then there were the brave souls willing to stand up for the ship’s unwieldy self, \u003cem>and\u003c/em> get it a buddy.\u003c/p>\n\u003cp>https://twitter.com/joshuaseth/status/1376404373098672128\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of writing, the \u003ca href=\"https://www.change.org/p/egypt-government-officials-add-another-ship?recruiter=905033423&recruited_by_id=12dfb320-cd78-11e8-9c24-dbdc483c0fcd&use_react=false\" target=\"_blank\" rel=\"noopener noreferrer\">Change.org petition\u003c/a> to “Add Another Ship” was very close to exceeding its goal of 2,500 signatures. That might seem funny now, but when it comes to maritime matters, the internet can be a surprisingly determined place. Lest we forget that in 2016, after the UK government asked the public to come up with a fitting name for a prestigious new research ship, the internet rallied and succeeded in getting its preferred title to the top of the polls. It was “\u003ca href=\"https://www.nytimes.com/2016/03/22/world/europe/boaty-mcboatface-what-you-get-when-you-let-the-internet-decide.html\" target=\"_blank\" rel=\"noopener noreferrer\">Boaty McBoatface\u003c/a>,” a name that now lives in infamy. God speed, Suez Canal.\u003c/p>\n\n",
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"content": "\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. There are nine episodes total, each in the 15-20 minute range, and the cast is big and impressive: Aaron Taylor-Johnson, Rosario Dawson, Mark Duplass, Aubrey Plaza, Nick Jonas, and Pedro Pascal are just a few of the folks who show up. The episodes are standalone short stories that gradually reveal a larger tale. A guy on the phone with his girlfriend, a doctor on the phone with her sister, a man on the phone with a neighbor—all experiencing a baffling anomaly that disrupts their lives in different ways.\u003c/p>\n\u003cp>\u003cem>Calls \u003c/em>comes by its unconventional format honestly—this was always an audio project. It began with a ten-minute short film with the barest visuals by writer and director Timothée Hochet, who posted it to YouTube and then wrote and directed a French television series based on it. This version is, in turn, based on the French show, and was written and directed by Fede Álvarez, who made \u003cem>Don’t Breathe \u003c/em>as well and \u003cem>The Girl in the Spider’s Web\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RfpzdSJlv6o\u003c/p>\n\u003cp>What makes this an interesting effort arises out of the fact that it’s very different to write for audio drama than for television or film. There are a bunch of reasons that’s true, but one is that audiences need more and different signposting—voices that are different enough, characters calling each other by name, other cues that audio writers develop the ability to add seamlessly—to keep track of what’s going on. If you’ve ever listened to just the sound of a scene from a show or a film you’re not familiar with, you’ve probably noticed that you can lose your way very quickly, and if people are talking over each other or raising or lowering their voices, the complications can increase. (This is also why, for instance, if a news report on television plays the audio of a taped phone call, they’ll caption and label who’s talking and what they’re saying.) Audio writing is not just TV writing without the screen, and it requires tackling a different set of challenges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Calls%27+Is+A+Suspenseful+Audio+Drama+With+An+Effective+Visual+Boost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w9IkVtLvflU\u003c/p>\n\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arrington recalls in \u003cem>TINA\u003c/em> that “she wanted to just tell it and then forget it. It didn’t quite work out that way.” [aside postid='arts_13890087']\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” [aside postid='arts_13892800']\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘TINA’ premieres on Saturday, March 27, on HBO. \u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\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/w9IkVtLvflU'\n title='//www.youtube.com/embed/w9IkVtLvflU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The network of punk houses that thrived in Oakland and Berkeley in the late ’90s and early 2000s was the result of a perfect storm. Large rentable homes in ungentrified neighborhoods. Gangs of scrappy, creative kids who didn’t mind sleeping three to a room. Plus, of course, a punk scene that was still dominating Bay Area music. The conditions were ripe to create a much-treasured moment in time for everyone who went through those houses. [aside postid='arts_13871151']\u003c/p>\n\u003cp>For many folks who lived in and frequented them, punk house memories now are nebulous—misty snapshots of sights, smells, fights and oh-so-many \u003cem>feelings\u003c/em>. The scraps likely piece together into a fairly short mental highlights reel. Because not only did everything happen pre-camera phone and before social media, punks on a budget just didn’t take many photos back then. (You had to pay to get them developed, after all.)\u003c/p>\n\u003cp>But on March 6, that changed. After digging out old photos for a friend’s birthday, Elizabeth Whitney—herself an occupant of three different East Bay punk houses in the ’90s and 2000s—decided, on a whim, to throw some pics up online. “I just thought, ‘God,’” Whitney tells KQED Arts, “‘I get to look at all these awesome pictures all the time and the people that are in them don’t get to share them with me.’ So I went on a three-hour late-night bender of loading them all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895166 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Whitney started a brand new Instagram account she decided to call, simply, \u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">@PunkHouseOakland\u003c/a>. Within a few hours and a handful of tags, the new account wasn’t just being warmly received, it was blowing up. Whitney was quickly bombarded with photos from other former punk house kids. Some were old friends, some were strangers. It didn’t matter. Despite the years since the punk house peak, and the dispersal (and many deaths) of people in the scene, the DIY collective mentality of old quickly sprang back to life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the weeks since, Whitney—who now owns and runs a pilates and yoga studio in Brooklyn—has received so many hundreds of photos to share, she’s currently struggling to clear the backlog of submissions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13895167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“It’s been truly joyous and incredible to witness,” she says. “To have other people fill in the gaps of my memory, to have us celebrate and tell stories about each other—it’s been really reparative and healing. And so many people have reached out saying the same thing—that they’ve found people they thought they lost, or they healed some old wounds, or reconnected in some way.”\u003c/p>\n\u003cp>“Also,” Whitney continues, “in this time where physicality or intimacy with a large group of people is a really scary thing, there is, like, a deep yearning ache inside me when I look at how close we were. I can’t imagine I’m the only one. [We were all] just kissing, and on top of each other, and laying around holding each other, and dancing.”\u003c/p>\n\u003cfigure id=\"attachment_13894328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894328\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/hugs-800x495.jpg\" alt=\"Three pairs of hugging friends. (L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\u003c/figcaption>\u003c/figure>\n\u003cp>“We were so deeply alive,” Whitney says. “In our suffering, in our love for each other, in the things we were creating, in the things we despised. Just so, so much passion. And basically just trying to live life like it was our last day on Earth, every single day.”\u003c/p>\n\u003cp>In true punk rock fashion, Whitney doesn’t edit any of the content she receives. She just throws up the photos and asks followers to tag the people they recognize. Together for the first time, these photos act as a time machine for those who were there. And for those who weren’t, the collection offers a look inside punk houses—a lifestyle almost impossible to completely convey with just words.\u003c/p>\n\u003cp>“For me, seeing a true punk house for the first time, it was just mayhem,” Whitney recalls. “People lived under stairs, in the laundry room, in shacks out back, in vans in the driveway, it was just jam-packed. So many people and constant rotation of out-of-town travelers. I cannot overstate how in love I was with the scariness, craziness and feral wildness that existed in everyday life. Just complete wide-eyed wonder and awe that you could live this way, with no rules.”\u003c/p>\n\u003cfigure id=\"attachment_13894317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894317\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Sleeping-quarters-800x800.jpg\" alt=\"Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, couch nappers. Bottom row: "Nobunny's room" and Seth.\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, (R) couch nappers. Bottom row: (L) “Nobunny’s room” and (R) Seth. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As expected with a scene rooted in punk, music looms large across the pictures pouring in. Photos include \u003ca href=\"https://www.instagram.com/p/CMkdaj5hKo7/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CMe37exhhkw/\" target=\"_blank\" rel=\"noopener noreferrer\">basement shows\u003c/a>, and a multitude of underground bands, local and otherwise. You can spot members of Green Day, AFI, Pinhead Gunpowder, Screw 32, Avail, Los Crudos, One Man Army, The PeeChees, Black Fork, Talk is Poison, The Criminals, El Dopa, Defiance, The Enemies, Behead the Prophet, The Shattered, Logical Nonsense and many more.\u003c/p>\n\u003cp>Sometimes, it’s the more obscure bands that are the most fun to look back on.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895162 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png\" alt=\"\" width=\"800\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1020x449.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-160x70.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-768x338.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1536x676.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-2048x901.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1920x845.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the account is just as likely to include photos of scene kids carving pumpkins, doing each other’s hair, chilling with \u003ca href=\"https://www.instagram.com/p/CMdZrqMhk_z/\" target=\"_blank\" rel=\"noopener noreferrer\">pets\u003c/a> (including \u003ca href=\"https://www.instagram.com/p/CMdZmxYB83E/\" target=\"_blank\" rel=\"noopener noreferrer\">baby raccoons\u003c/a>!), hanging \u003ca href=\"https://www.instagram.com/p/CMgEFvehc10/\" target=\"_blank\" rel=\"noopener noreferrer\">on the front porch\u003c/a>, in the \u003ca href=\"https://www.instagram.com/p/CMfW1hUhIiO/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a>, and also playing \u003ca href=\"https://www.instagram.com/p/CMf5HrRBu6M/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>. (There is \u003cem>a lot\u003c/em> of \u003ca href=\"https://www.instagram.com/p/CMf9x_eB_a7/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>.) One photo recently emerged of a bunch of \u003ca href=\"https://www.instagram.com/p/CMn4XRxBc-a/\" target=\"_blank\" rel=\"noopener noreferrer\">punks working in a call center\u003c/a>, all lined up in cubicles. (Whitney says “75% of all punks in the Bay” worked in telemarketing at the time.)\u003c/p>\n\u003cp>It’s impossible to tell the story of Oakland punk houses, however, without including the fact that this was a scene in which a lot of people died way too young. Whitney handles this simply but effectively, by including an ‘RIP’ next to anyone in the photos who’s no longer alive.\u003c/p>\n\u003cp>“Maybe this was punk everywhere,” Whitney explains, “but Oakland punk houses were, for the most part, made up of people that maybe had experienced some not great things in our early lives. We were coming together in some sort of sleep-away camp orphanage to create our own families, with our own rules and morals and infrastructures. And within those structures, there was a sense of being allowed to be what you were.”\u003c/p>\n\u003cp>“But in that scene,” she continues, “there just wasn’t an infrastructure for aging, or getting older in a tenable way that looked cool, where we could all stay together. No one knew how to do it. A lot of people partied too hard, and it was really intense. I think a lot of people didn’t know how to stay in the scene and not self-destruct.”\u003c/p>\n\u003cfigure id=\"attachment_13894333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894333\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RIP-800x371.jpg\" alt=\"Elizabeth Whitney adds 'RIP' whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and 'Dead Boy'.\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1920x891.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Whitney adds ‘RIP’ whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and ‘Dead Boy’. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The heightened sense of mortality also influenced Whitney’s desire to start the account. “I wanted us not just to celebrate and tell stories at funerals,” she says. “I want the people I love and admire, and the people that touched my life in some way—I want them to know it. And I’m watching that spread now in just the raddest way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Punk House Oakland\u003c/a> can be found on Instagram and is accepting photo submissions on an ongoing basis. It has already inspired a spin-off account—\u003ca href=\"https://www.instagram.com/punkhousechicago/\" target=\"_blank\" rel=\"noopener noreferrer\">@punkhousechicago\u003c/a>—and Elizabeth Whitney hopes it will inspire more.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The account captures the legendary (and almost undocumented) network of East Bay punk houses during the late ’90s and early 2000s.",
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"title": "‘Punk House Oakland’ Captures a Bay Area Subculture Like Never Before | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The network of punk houses that thrived in Oakland and Berkeley in the late ’90s and early 2000s was the result of a perfect storm. Large rentable homes in ungentrified neighborhoods. Gangs of scrappy, creative kids who didn’t mind sleeping three to a room. Plus, of course, a punk scene that was still dominating Bay Area music. The conditions were ripe to create a much-treasured moment in time for everyone who went through those houses. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For many folks who lived in and frequented them, punk house memories now are nebulous—misty snapshots of sights, smells, fights and oh-so-many \u003cem>feelings\u003c/em>. The scraps likely piece together into a fairly short mental highlights reel. Because not only did everything happen pre-camera phone and before social media, punks on a budget just didn’t take many photos back then. (You had to pay to get them developed, after all.)\u003c/p>\n\u003cp>But on March 6, that changed. After digging out old photos for a friend’s birthday, Elizabeth Whitney—herself an occupant of three different East Bay punk houses in the ’90s and 2000s—decided, on a whim, to throw some pics up online. “I just thought, ‘God,’” Whitney tells KQED Arts, “‘I get to look at all these awesome pictures all the time and the people that are in them don’t get to share them with me.’ So I went on a three-hour late-night bender of loading them all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895166 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Whitney started a brand new Instagram account she decided to call, simply, \u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">@PunkHouseOakland\u003c/a>. Within a few hours and a handful of tags, the new account wasn’t just being warmly received, it was blowing up. Whitney was quickly bombarded with photos from other former punk house kids. Some were old friends, some were strangers. It didn’t matter. Despite the years since the punk house peak, and the dispersal (and many deaths) of people in the scene, the DIY collective mentality of old quickly sprang back to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the weeks since, Whitney—who now owns and runs a pilates and yoga studio in Brooklyn—has received so many hundreds of photos to share, she’s currently struggling to clear the backlog of submissions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13895167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“It’s been truly joyous and incredible to witness,” she says. “To have other people fill in the gaps of my memory, to have us celebrate and tell stories about each other—it’s been really reparative and healing. And so many people have reached out saying the same thing—that they’ve found people they thought they lost, or they healed some old wounds, or reconnected in some way.”\u003c/p>\n\u003cp>“Also,” Whitney continues, “in this time where physicality or intimacy with a large group of people is a really scary thing, there is, like, a deep yearning ache inside me when I look at how close we were. I can’t imagine I’m the only one. [We were all] just kissing, and on top of each other, and laying around holding each other, and dancing.”\u003c/p>\n\u003cfigure id=\"attachment_13894328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894328\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/hugs-800x495.jpg\" alt=\"Three pairs of hugging friends. (L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\u003c/figcaption>\u003c/figure>\n\u003cp>“We were so deeply alive,” Whitney says. “In our suffering, in our love for each other, in the things we were creating, in the things we despised. Just so, so much passion. And basically just trying to live life like it was our last day on Earth, every single day.”\u003c/p>\n\u003cp>In true punk rock fashion, Whitney doesn’t edit any of the content she receives. She just throws up the photos and asks followers to tag the people they recognize. Together for the first time, these photos act as a time machine for those who were there. And for those who weren’t, the collection offers a look inside punk houses—a lifestyle almost impossible to completely convey with just words.\u003c/p>\n\u003cp>“For me, seeing a true punk house for the first time, it was just mayhem,” Whitney recalls. “People lived under stairs, in the laundry room, in shacks out back, in vans in the driveway, it was just jam-packed. So many people and constant rotation of out-of-town travelers. I cannot overstate how in love I was with the scariness, craziness and feral wildness that existed in everyday life. Just complete wide-eyed wonder and awe that you could live this way, with no rules.”\u003c/p>\n\u003cfigure id=\"attachment_13894317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894317\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Sleeping-quarters-800x800.jpg\" alt=\"Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, couch nappers. Bottom row: "Nobunny's room" and Seth.\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, (R) couch nappers. Bottom row: (L) “Nobunny’s room” and (R) Seth. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As expected with a scene rooted in punk, music looms large across the pictures pouring in. Photos include \u003ca href=\"https://www.instagram.com/p/CMkdaj5hKo7/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CMe37exhhkw/\" target=\"_blank\" rel=\"noopener noreferrer\">basement shows\u003c/a>, and a multitude of underground bands, local and otherwise. You can spot members of Green Day, AFI, Pinhead Gunpowder, Screw 32, Avail, Los Crudos, One Man Army, The PeeChees, Black Fork, Talk is Poison, The Criminals, El Dopa, Defiance, The Enemies, Behead the Prophet, The Shattered, Logical Nonsense and many more.\u003c/p>\n\u003cp>Sometimes, it’s the more obscure bands that are the most fun to look back on.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895162 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png\" alt=\"\" width=\"800\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1020x449.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-160x70.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-768x338.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1536x676.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-2048x901.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1920x845.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the account is just as likely to include photos of scene kids carving pumpkins, doing each other’s hair, chilling with \u003ca href=\"https://www.instagram.com/p/CMdZrqMhk_z/\" target=\"_blank\" rel=\"noopener noreferrer\">pets\u003c/a> (including \u003ca href=\"https://www.instagram.com/p/CMdZmxYB83E/\" target=\"_blank\" rel=\"noopener noreferrer\">baby raccoons\u003c/a>!), hanging \u003ca href=\"https://www.instagram.com/p/CMgEFvehc10/\" target=\"_blank\" rel=\"noopener noreferrer\">on the front porch\u003c/a>, in the \u003ca href=\"https://www.instagram.com/p/CMfW1hUhIiO/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a>, and also playing \u003ca href=\"https://www.instagram.com/p/CMf5HrRBu6M/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>. (There is \u003cem>a lot\u003c/em> of \u003ca href=\"https://www.instagram.com/p/CMf9x_eB_a7/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>.) One photo recently emerged of a bunch of \u003ca href=\"https://www.instagram.com/p/CMn4XRxBc-a/\" target=\"_blank\" rel=\"noopener noreferrer\">punks working in a call center\u003c/a>, all lined up in cubicles. (Whitney says “75% of all punks in the Bay” worked in telemarketing at the time.)\u003c/p>\n\u003cp>It’s impossible to tell the story of Oakland punk houses, however, without including the fact that this was a scene in which a lot of people died way too young. Whitney handles this simply but effectively, by including an ‘RIP’ next to anyone in the photos who’s no longer alive.\u003c/p>\n\u003cp>“Maybe this was punk everywhere,” Whitney explains, “but Oakland punk houses were, for the most part, made up of people that maybe had experienced some not great things in our early lives. We were coming together in some sort of sleep-away camp orphanage to create our own families, with our own rules and morals and infrastructures. And within those structures, there was a sense of being allowed to be what you were.”\u003c/p>\n\u003cp>“But in that scene,” she continues, “there just wasn’t an infrastructure for aging, or getting older in a tenable way that looked cool, where we could all stay together. No one knew how to do it. A lot of people partied too hard, and it was really intense. I think a lot of people didn’t know how to stay in the scene and not self-destruct.”\u003c/p>\n\u003cfigure id=\"attachment_13894333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894333\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RIP-800x371.jpg\" alt=\"Elizabeth Whitney adds 'RIP' whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and 'Dead Boy'.\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1920x891.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Whitney adds ‘RIP’ whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and ‘Dead Boy’. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The heightened sense of mortality also influenced Whitney’s desire to start the account. “I wanted us not just to celebrate and tell stories at funerals,” she says. “I want the people I love and admire, and the people that touched my life in some way—I want them to know it. And I’m watching that spread now in just the raddest way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Punk House Oakland\u003c/a> can be found on Instagram and is accepting photo submissions on an ongoing basis. It has already inspired a spin-off account—\u003ca href=\"https://www.instagram.com/punkhousechicago/\" target=\"_blank\" rel=\"noopener noreferrer\">@punkhousechicago\u003c/a>—and Elizabeth Whitney hopes it will inspire more.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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