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"content": "\u003cp>If seven seasons’ worth of \u003cem>Mad Men’s\u003c/em> Roger Sterling taught us anything, it’s that watching John Slattery in Smug Jerk Mode is dependably fun.\u003c/p>\n\u003cp>Paul LeBlanc, the tech billionaire he plays on FOX’s techno-thriller series \u003cem>NeXt\u003c/em>, shares Roger’s cockiness, his callous disregard for the feelings of those he sees as lesser than he (read: everyone) and his roguish charm. But Paul’s a lot less happy-go-lucky. Which is understandable; he’s got a good deal more on his mind, seeing as he created an artificial intelligence that has gained sentience and integrated itself with the world’s automated systems: “cameras, cellphones—anything with a lens or a mic or a sensor.”\u003c/p>\n\u003cp>This turns out to be a long list that includes automobile electronics, CCTV cameras, hospital monitors and smart speakers. The evil intelligence in question—called NeXt—clearly has a nefarious master plan, but in the first five episodes made available to press (out of the ten produced), it’s content to merely knock off a few people and menace an FBI investigator (Fernanda Andrade) and her family.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=micrLvzThs8&t=36s\u003c/p>\n\u003cp>The show’s trailer seems to suggest that \u003cem>NeXt\u003c/em> is a procedural, and Slattery’s character \u003cem>does \u003c/em>team up with the FBI Cybercrime division, which is peopled with exactly the types of characters you’d expect to see solving different crimes each week (No-nonsense Goth girl! Wisecracking ex-con with a secret! Etc.!). Instead, the series churns through its largely linear plot at a fast clip. This is certainly gratifying, in the age of Netflix bloat, though it does tend to blunt the stakes. Bit players who threaten to stand in the way of our main characters find themselves quickly dispatched before they can do so. No sooner does Slattery’s LeBlanc blow the whistle on his evil A.I. than the FBI takes him seriously and gets to work. It’s tough to make a paranoid thriller without leaving a healthy amount of room for, you know, paranoia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the show hews closest to present-day, real-world concerns about a populace under constant surveillance willingly giving up privacy in the interest of convenience, it can be legitimately unsettling. Yet when it goes further—when, for example, it sends [redacted] after Andrade’s character in a darkened hallway, the show takes on an agreeably cheesy aspect that’s pure sci-fi. (\u003cem>NeXt\u003c/em> is the kind of show in which characters type furiously and glare at their computer screens while muttering “come on, come on” as things download or upload or install or uninstall. I am pleased to report that at no point, in the first five episodes at least, does any character shout “I’m in!” upon hacking into a mainframe, but, really, it’s just a matter of time.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the show is offered as an ominous warning about the threat of omnipresent technology in the manner of \u003cem>Black Mirror\u003c/em>, what it achieves is something far lighter and less chewy. That’s likely due, at least in part, to Slattery’s unflappable presence. Seriously—nothing flaps this guy. So even as his character goes around smashing cellphones and smart thermostats and car navigation systems while delivering dark pronouncements about the end of the human race, you can’t help but think, \u003cem>Look at this guy. He’s got this covered. We’ll be fine.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=FOX%27s+%27NeXt%27+Is+Pretty+Chill+For+A+Techno-Thriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>First came the viral TikTok video.\u003c/p>\n\u003cp>Utilizing only a longboard, a large bottle of cranberry juice and Fleetwood Mac’s “Dreams,” Nathan Apodaca soothed the anxieties of a stressed out nation.\u003c/p>\n\u003cp>https://twitter.com/DrewFrogger/status/1309531633545089024\u003c/p>\n\u003cp>Then came the parodies.\u003c/p>\n\u003cp>By the personification of Pumpkin Spice Season:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aO4mhpdExew\u003c/p>\n\u003cp>By soldiers serving in the US Army:\u003c/p>\n\u003cp>https://twitter.com/RexChapman/status/1313134705445875712\u003c/p>\n\u003cp>Hell, even Mick Fleetwood \u003cem>from Fleetwood Mac\u003c/em> made one:\u003c/p>\n\u003cp>https://www.instagram.com/p/CF7-GVDBHYz/\u003c/p>\n\u003cp>The viral clip led to Gen Z collectively discovering Fleetwood Mac for the first time, and subsequently losing its damn mind.\u003c/p>\n\u003cp>https://twitter.com/lanee_boi/status/1312952427407192066\u003c/p>\n\u003cp>https://twitter.com/annoyingtradcat/status/1312859448646529026\u003c/p>\n\u003cp>https://twitter.com/dojasleftbreast/status/1312948831617679360\u003c/p>\n\u003cp>All of which put Fleetwood Mac back on the charts like it was still 1977.\u003c/p>\n\u003cp>https://twitter.com/Nickslive/status/1312930099579228166\u003c/p>\n\u003cp>Then, finally—finally!—Nathan Apodaca’s story emerged. What glorious event was it that inspired this Idaho Falls resident to make such a serene, carefree clip? Well, Apodaca was on his way to work at a potato factory. From his brother’s house, which he lives outside of, in an RV with no running water. And his car had broken down on the way because it has a faulty battery. And, because he only had 15 minutes to get to work on time, he had to jump on his longboard to get there. The TikTok clip? Just a spur-of-the-moment decision to make the journey more fun. [aside postid='arts_13886217']\u003c/p>\n\u003cp>Apodaca’s zen attitude paid off—literally. Fans of his viral video have since sent him over $10,000. \u003ca href=\"https://www.tmz.com/2020/09/30/fleetwood-mac-skateboarder-viral-video-nathan-apodaca-donations-new-rv-car/\" target=\"_blank\" rel=\"noopener noreferrer\">Talking to TMZ\u003c/a>, he described the donations as “a blessing,” said he would be giving $5,000 to his mom, and using the rest to fix his car and get “a space of [his own] to cook and clean, shower and shit.” He also said he would be open to doing a commercial for Ocean Spray, should they require his services.\u003c/p>\n\u003cp>All of which goes to prove that a little optimism can still go a long way—even in 2020.\u003cbr>\n\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\">Update: Since first publishing this story, there have been two important developments. First, Ocean Spray’s CEO made his own parody video:\u003c/p>\n\u003cp>https://twitter.com/SomehowSamantha/status/1313672001878454274\u003c/p>\n\u003cp>Then his company promptly \u003ca href=\"https://www.tmz.com/2020/10/06/ocean-spray-delivers-truck-juice-fleetwood-mac-skateboarder-dream-challenge/\" target=\"_blank\" rel=\"noopener noreferrer\">presented Nathan Apodaca with a new truck\u003c/a> full of cranberry juice. Apodaca responded accordingly with a new TikTik video.\u003c/p>\n\u003cp>https://twitter.com/emilycblz/status/1313612975647924224\u003c/p>\n\u003cp>Keep the PMA going by following \u003ca href=\"https://www.tiktok.com/@420doggface208?source=h5_m\" target=\"_blank\" rel=\"noopener noreferrer\">Apodaca on TikTok\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The viral clip led to Gen Z collectively discovering Fleetwood Mac for the first time, and subsequently losing its damn mind.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then, finally—finally!—Nathan Apodaca’s story emerged. What glorious event was it that inspired this Idaho Falls resident to make such a serene, carefree clip? Well, Apodaca was on his way to work at a potato factory. From his brother’s house, which he lives outside of, in an RV with no running water. And his car had broken down on the way because it has a faulty battery. And, because he only had 15 minutes to get to work on time, he had to jump on his longboard to get there. The TikTok clip? Just a spur-of-the-moment decision to make the journey more fun. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Apodaca’s zen attitude paid off—literally. Fans of his viral video have since sent him over $10,000. \u003ca href=\"https://www.tmz.com/2020/09/30/fleetwood-mac-skateboarder-viral-video-nathan-apodaca-donations-new-rv-car/\" target=\"_blank\" rel=\"noopener noreferrer\">Talking to TMZ\u003c/a>, he described the donations as “a blessing,” said he would be giving $5,000 to his mom, and using the rest to fix his car and get “a space of [his own] to cook and clean, shower and shit.” He also said he would be open to doing a commercial for Ocean Spray, should they require his services.\u003c/p>\n\u003cp>All of which goes to prove that a little optimism can still go a long way—even in 2020.\u003cbr>\n\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\">Update: Since first publishing this story, there have been two important developments. First, Ocean Spray’s CEO made his own parody video:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then his company promptly \u003ca href=\"https://www.tmz.com/2020/10/06/ocean-spray-delivers-truck-juice-fleetwood-mac-skateboarder-dream-challenge/\" target=\"_blank\" rel=\"noopener noreferrer\">presented Nathan Apodaca with a new truck\u003c/a> full of cranberry juice. Apodaca responded accordingly with a new TikTik video.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Keep the PMA going by following \u003ca href=\"https://www.tiktok.com/@420doggface208?source=h5_m\" target=\"_blank\" rel=\"noopener noreferrer\">Apodaca on TikTok\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last night, Chrissy Teigen and John Legend lost their third child, less than two weeks after Teigen was put on \u003ca href=\"https://www.instagram.com/p/CFX17mQpqci/\" target=\"_blank\" rel=\"noopener noreferrer\">bed rest\u003c/a>. The couple announced the news on social media immediately, accompanied by a photo of Teigen, bereft and weeping in a hospital bed.\u003c/p>\n\u003cp>https://twitter.com/chrissyteigen/status/1311517048858574848\u003c/p>\n\u003cp>“We are shocked and in the kind of deep pain you only hear about,” Teigen wrote. “The kind of pain we’ve never felt before. We were never able to stop the bleeding and give our baby the fluids he needed, despite bags and bags of blood transfusions. It just wasn’t enough.”\u003c/p>\n\u003cp>The speed and rawness of the post was surprising, even from a woman whose unfiltered sharing has made her one of the most popular figures on social media. In the middle of the most painful moment of her life, it turns out, Chrissy Teigen still tells it like it is.\u003c/p>\n\u003cp>https://twitter.com/chrissyteigen/status/1311523032289091584\u003c/p>\n\u003cp>Teigen’s decision to speak publicly during the couple’s shock and grief isn’t just a continuation of their desire to live openly and authentically in the public eye. It’s also not just the quickest way to get painful news out. Their honesty in this moment is undoubtedly going to help couples, but especially women, who have similar experiences in the future.\u003c/p>\n\u003cp>Figures vary depending on where you look, but \u003ca href=\"https://www.self.com/story/why-you-shouldnt-feel-guilty-after-a-miscarriage\" target=\"_blank\" rel=\"noopener noreferrer\">10–25%\u003c/a> of American pregnancies end in miscarriage. That’s about a million per year. And yet most women who do lose a pregnancy \u003ca href=\"https://www.self.com/story/why-you-shouldnt-feel-guilty-after-a-miscarriage\" target=\"_blank\" rel=\"noopener noreferrer\">experience guilt\u003c/a> after the fact. That’s in no small part due to common misconceptions and old myths around what causes it to happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One \u003ca href=\"http://www.einstein.yu.edu/news/releases/1089/survey-finds-miscarriage-widely-misunderstood/\" target=\"_blank\" rel=\"noopener noreferrer\">2015 research study\u003c/a> found a majority of respondents believed that most pregnancy losses were caused by either stress or the lifting of heavy objects. Between 20% and 41% believed miscarriage could be caused by an STD, previous use of contraceptives, or even simply just having an argument. Not only are \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/pregnancy-loss-miscarriage/symptoms-causes/syc-20354298\" target=\"_blank\" rel=\"noopener noreferrer\">none of these things listed\u003c/a> as potential risks by the Mayo Clinic, the reality is that 60% of pregnancies fail due to genetic problems within the fetus that are not caused by anything the mother did. [aside postid='arts_13874517']\u003c/p>\n\u003cp>The misplaced guilt can also be accompanied by shame. Which is not that surprising when one considers how socially conditioned women are to feel shame about our bodies, even under normal circumstances. Shame over their natural functions, shame (for the more religious among us) over their sinfulness and, most of all, shame over their imperfections. When our bodies are anything but perfect, women are taught, you’d better cover up and hide until you fix it.\u003c/p>\n\u003cp>The photo Teigen posted of herself, broken and in all her grief, was decidedly and refreshingly unashamed. This, she told us with that image, is the aftermath of an accident; a cruel twist of fate; an imperfection that could not be fixed. By posting the picture, Teigen didn’t just face the loss head-on, she asked us to look at it with her. She asked us to understand. And in doing that, she forced America to take a major step forward in destigmatizing pregnancy loss and its aftermath.\u003c/p>\n\u003cp>Other celebrities have bravely shared their miscarriages with the public before. \u003ca href=\"https://www.youtube.com/watch?v=bUG_nM-_LOk\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jVMwDd8V_kY\" target=\"_blank\" rel=\"noopener noreferrer\">Tori Amos\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=uiSp79h3wX8\" target=\"_blank\" rel=\"noopener noreferrer\">Lily Allen\u003c/a> all wrote songs about theirs. Courtney Cox, Sophia Loren and Giuliana Rancic all openly discussed the devastation of their miscarriages. But these stories came later, in a calmer place, after a moment to process, and after the tears had dried. [aside postid='arts_13884653']\u003c/p>\n\u003cp>Teigen didn’t wait to get herself together. And in responding the way she did, she didn’t just tell women everywhere it’s okay to not be okay, she showed them what the world falling apart looked like. That she did it in a format usually beholden to filters and projections of perfection was especially revelatory.\u003c/p>\n\u003cp>Then, most remarkably of all, Teigen went on to show us all how to move forward in any time of crisis. “On this darkest of days, we will grieve, we will cry our eyes out. But we will hug and love each other harder,” she wrote, “and get through it.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We are shocked and in the kind of deep pain you only hear about,” Teigen wrote. “The kind of pain we’ve never felt before. We were never able to stop the bleeding and give our baby the fluids he needed, despite bags and bags of blood transfusions. It just wasn’t enough.”\u003c/p>\n\u003cp>The speed and rawness of the post was surprising, even from a woman whose unfiltered sharing has made her one of the most popular figures on social media. In the middle of the most painful moment of her life, it turns out, Chrissy Teigen still tells it like it is.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Teigen’s decision to speak publicly during the couple’s shock and grief isn’t just a continuation of their desire to live openly and authentically in the public eye. It’s also not just the quickest way to get painful news out. Their honesty in this moment is undoubtedly going to help couples, but especially women, who have similar experiences in the future.\u003c/p>\n\u003cp>Figures vary depending on where you look, but \u003ca href=\"https://www.self.com/story/why-you-shouldnt-feel-guilty-after-a-miscarriage\" target=\"_blank\" rel=\"noopener noreferrer\">10–25%\u003c/a> of American pregnancies end in miscarriage. That’s about a million per year. And yet most women who do lose a pregnancy \u003ca href=\"https://www.self.com/story/why-you-shouldnt-feel-guilty-after-a-miscarriage\" target=\"_blank\" rel=\"noopener noreferrer\">experience guilt\u003c/a> after the fact. That’s in no small part due to common misconceptions and old myths around what causes it to happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The misplaced guilt can also be accompanied by shame. Which is not that surprising when one considers how socially conditioned women are to feel shame about our bodies, even under normal circumstances. Shame over their natural functions, shame (for the more religious among us) over their sinfulness and, most of all, shame over their imperfections. When our bodies are anything but perfect, women are taught, you’d better cover up and hide until you fix it.\u003c/p>\n\u003cp>The photo Teigen posted of herself, broken and in all her grief, was decidedly and refreshingly unashamed. This, she told us with that image, is the aftermath of an accident; a cruel twist of fate; an imperfection that could not be fixed. By posting the picture, Teigen didn’t just face the loss head-on, she asked us to look at it with her. She asked us to understand. And in doing that, she forced America to take a major step forward in destigmatizing pregnancy loss and its aftermath.\u003c/p>\n\u003cp>Other celebrities have bravely shared their miscarriages with the public before. \u003ca href=\"https://www.youtube.com/watch?v=bUG_nM-_LOk\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jVMwDd8V_kY\" target=\"_blank\" rel=\"noopener noreferrer\">Tori Amos\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=uiSp79h3wX8\" target=\"_blank\" rel=\"noopener noreferrer\">Lily Allen\u003c/a> all wrote songs about theirs. Courtney Cox, Sophia Loren and Giuliana Rancic all openly discussed the devastation of their miscarriages. But these stories came later, in a calmer place, after a moment to process, and after the tears had dried. \u003c/p>\u003c/div>",
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"content": "\u003cp>On Sept. 21, a former president of Elite Model Management was formally accused by four women of sexual assault. Gérald Marie ran the European arm of Elite for 25 years. Now three models—Carré Otis, Jill Dodd and Ebba Karlsson—along with journalist Lisa Brinkworth, have filed \u003ca href=\"https://nypost.com/2020/09/27/former-elite-models-boss-accused-of-raping-models/\" target=\"_blank\" rel=\"noopener noreferrer\">legal papers\u003c/a> against Marie in Paris. Marie has “categorically” denied the accusations but, like Harvey Weinstein and Bill Cosby before him, rumors across his industry have painted him as a predator for decades.\u003c/p>\n\u003cp>Dodd wrote about being raped by Marie in her 2017 memoir, \u003ca href=\"https://www.simonandschuster.com/books/The-Currency-of-Love/Jill-Dodd/9781501150388\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Currency of Love\u003c/em>\u003c/a>. Otis made similar allegations in her 2011 autobiography, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/beauty-disrupted-carre-otishugo-schwyzer?variant=32205798277154\" target=\"_blank\" rel=\"noopener noreferrer\">Beauty Disrupted\u003c/a>\u003c/em>, about events she said took place when she was 17. The detail she offered was harrowing. More recently, Otis told Lisa Brinkworth in \u003ca href=\"https://www.thetimes.co.uk/article/models-reveal-serial-sexual-abuse-behind-gloss-of-fashion-world-m50hdhxlz?wgu=270525_54264_16014038901379_56b51023a3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Times\u003c/em>\u003c/a> that, “The abuse was part of what was expected on the set from agents, photographers, stylists. If you don’t comply, you don’t work.”\u003c/p>\n\u003cp>In fact, looking at incidents reported by models and in the press as far back as the ’80s, an unhappy truth emerges: Marie is not an outlier in the industry. He is just one of several modeling executives to routinely appear connected to stories that involve inappropriate objectification at best, and sexual harassment and assault at worst.\u003c/p>\n\u003cp>An echo of Otis’ sentiment was expressed in 1988 during an \u003ca href=\"https://www.youtube.com/watch?v=CH8NAaPUvlo\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>60 Minutes\u003c/em>\u003c/a>, titled “American Girls in Paris.” In it, multiple models described exploitative and dangerous working conditions. One casually stated: “You’re there for the purpose of someone wanting to take you home to bed. [If you say no], you don’t work.” In the show, French agents including Claude Haddad from the Ford Agency and Jean-Luc Brunel of Karin Models were accused of sexual harassment and assault. [aside postid='arts_13882981']\u003c/p>\n\u003cp>Decades later, Brunel was pursued by American authorities as part of the Jeffrey Epstein sex trafficking investigation. Epstein had financed the opening of Brunel’s Miami modeling agency, MC2, in 2005. Of the professional partnership, former model Courtney Powell Soerensen told the \u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Miami Herald\u003c/em>\u003c/a> in 2019: “Brunel had access to a network of young women and it was already his proclivity to behave that way. When he connected with Epstein, they realized they could do it together. He is just as guilty if not more so than Epstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2019, one model who said she was drugged and assaulted by Brunel in 1987 gave a sworn statement to French authorities about the incident. No charges were filed because the statute of limitations had run out.\u003c/p>\n\u003cp>One Epstein survivor, \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Roberts_Giuffre\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Roberts Giuffre\u003c/a>, claimed the financier once bragged to her that he had “slept with over a thousand of Brunel’s girls.” Brunel went into hiding after Epstein’s death last year and is now so infamous in his home country he’s earned the nickname “\u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">le fantôme\u003c/a>.”\u003c/p>\n\u003cp>Gérald Marie has been similarly slippery when it comes to being held accountable for the accusations leveled against him.\u003c/p>\n\u003cp>In 1999, a BBC investigative journalist named Donal MacIntyre went undercover and attempted to expose Marie in a television documentary. Despite revelations regarding Marie’s targeting of underage models, and an initial “unconditional apology” from Elite founder John Casablancas, Elite sued the BBC for defamation. The case was later settled out of court, with the BBC publicly stating that MacIntyre’s exposé had misrepresented Elite.\u003c/p>\n\u003cp>That lawsuit effectively shut down potential legal actions against Elite, and put Casablancas back on the offensive. “People aren’t allowed to be silly at 3am in the nightclub,” he said dismissively, “or in the privacy of their own home.” Regardless, the fallout from the BBC investigation prompted both Marie and another Elite executive, Xavier Moreau, to step down from their positions. [aside postid='pop_112955']\u003c/p>\n\u003cp>Though it is Marie who has caused the most controversy at Elite over the years, a \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">2000 article for \u003cem>New York\u003c/em>\u003c/a> magazine quoted a rival fashion agent as saying: “John [Casablancas] was as bad as Gérald [Marie], but he had a more elegant manner.”\u003c/p>\n\u003cp>While Casablancas—who died in 2013—considered Marie a professional rival and was open about their fractious personal relationship, he also actively turned a blind eye to Marie’s behavior for the sake of his business.\u003c/p>\n\u003cp>Last year, Marie Anderson, who was vice president of Elite Chicago for seven years during the ’80s, told the French outlet \u003cem>\u003ca href=\"https://www.20minutes.fr/justice/2624635-20191011-jean-luc-brunel-insaisissable-ami-jeffrey-epstein-accuse-deux-cotes-atlantique\" target=\"_blank\" rel=\"noopener noreferrer\">20 Minutes\u003c/a>\u003c/em>: “It was the culture of the time, everyone knew. We thought that the only thing to do was to warn the girls.” Anderson went on to relay an incident in which one 18-year-old model called her in tears from Paris because of the coercive harassment she said she received from Marie. The model later admitted to Anderson that she had eventually given in to his sexual demands in order to get work.\u003c/p>\n\u003cp>A final straw for Anderson came after she witnessed Marie and Casablancas yelling at two of Elite’s top female executives. When Lisa Herzog and Trudi Tapscott asked Marie and Casablancas to “stop sleeping with underage models,” Casablancas is said to have told the women to “relax,” while Marie reportedly yelled: “Go screw yourselves!” Casablancas later \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s complaints\u003c/a> as an example of American puritanism. Anderson resigned. [aside postid='arts_13884214']\u003c/p>\n\u003cp>Which is all to say, women in the fashion industry have been trying to sound the alarm for decades. And yet flattering myths around these agency bosses—in particular, John Casablancas—have persisted. A 2016 Netflix documentary titled \u003ca href=\"https://www.netflix.com/title/80137087\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casablancas: The Man Who Loved Women\u003c/em>\u003c/a> works hard to hail the Elite founder as a maverick, hero and “starmaker.” This despite some jaw-dropping revelations in the film that are repeatedly glossed over.\u003c/p>\n\u003cp>In the documentary, the models in Casablancas and Marie’s midst are presented as beautiful objects to desire, use and discard. Models are seen wearing “Property of John Casablancas” T-shirts. Casablancas laughs at the memory of his father viewing his modeling agency as “a glorified brothel,” and he proudly explains that the original Elite logo “was a phallus and testicles … I loved it.”\u003c/p>\n\u003cp>More disturbing are his sexual relationships with teenagers. When Casablancas ends his marriage by beginning an affair with supermodel Stephanie Seymour, the fact that she’s 16 and he’s 42 garners only a brief mention. That “she broke [his] heart” is far more of a focus. That their break-up was prompted at least partially by an intervention from Seymour’s parents speaks volumes about the model’s immaturity at the time.\u003c/p>\n\u003cp>Later, when Casablancas talks about meeting Aline Wermelinger, a model he would marry when he was 49 and she was 17, his description of the moment is outstandingly creepy. He talks of her “baby face, green eyes and spectacular body … standing in front of us, innocent and pure.”\u003c/p>\n\u003cp>Footage of Casablancas being asked about his relationship with Wermelinger during a talk show appearance in the ’90s reveals him to be characteristically dismissive. “She comes from a country and I do too where there isn’t this fixation with age. People [in America] are obsessed with age … It’s my personal business, not yours.” [aside postid='arts_13883723']\u003c/p>\n\u003cp>Today, there are signs that small but significant shifts are afoot in fashion’s tolerance for such behavior. Emily Ratajkowski’s recent \u003ca href=\"https://www.thecut.com/article/emily-ratajkowski-owning-my-image-essay.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay for \u003cem>The Cut\u003c/em>\u003c/a>, which detailed her abuse and exploitation within the industry, garnered a refreshingly loud outcry. (If nothing else, it sent out a clear warning to any model who might consider working with photographer Jonathan Leder.)\u003c/p>\n\u003cp>In addition, \u003ca href=\"https://www.mariepanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marie Anderson\u003c/a> used her experience at Elite (as well as a number of other prominent agencies) to set up a coaching firm called \u003ca href=\"https://www.mariepanderson.com/boss-babe-models\" target=\"_blank\" rel=\"noopener noreferrer\">Boss Babes\u003c/a>. The company’s goal is to help young models navigate the industry, “while maintaining [their] purpose and dignity.”\u003c/p>\n\u003cp>Today, Gérald Marie is 70, the chairman of the Oui Management model agency and is on the defensive once again. But the Paris prosecutor’s office has confirmed it is investigating him. And the lawyer representing his accusers is also representing some of the women going after Brunel. These legal proceedings are beginning to look like a full-blown strategy, which—as the cases of Bill Cosby and Harvey Weinstein taught us—is essential if justice is ever to be served.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the buried voices of models can emerge from across the decades and shout loud enough about Marie and Brunel together, fashion might just finally get its #MeToo reckoning. Lord knows it’s long overdue.\u003c/p>\n\n",
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"excerpt": "For decades, models have spoken out against abusive modeling agents. Now, there might finally be a strategy to take them down. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 21, a former president of Elite Model Management was formally accused by four women of sexual assault. Gérald Marie ran the European arm of Elite for 25 years. Now three models—Carré Otis, Jill Dodd and Ebba Karlsson—along with journalist Lisa Brinkworth, have filed \u003ca href=\"https://nypost.com/2020/09/27/former-elite-models-boss-accused-of-raping-models/\" target=\"_blank\" rel=\"noopener noreferrer\">legal papers\u003c/a> against Marie in Paris. Marie has “categorically” denied the accusations but, like Harvey Weinstein and Bill Cosby before him, rumors across his industry have painted him as a predator for decades.\u003c/p>\n\u003cp>Dodd wrote about being raped by Marie in her 2017 memoir, \u003ca href=\"https://www.simonandschuster.com/books/The-Currency-of-Love/Jill-Dodd/9781501150388\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Currency of Love\u003c/em>\u003c/a>. Otis made similar allegations in her 2011 autobiography, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/beauty-disrupted-carre-otishugo-schwyzer?variant=32205798277154\" target=\"_blank\" rel=\"noopener noreferrer\">Beauty Disrupted\u003c/a>\u003c/em>, about events she said took place when she was 17. The detail she offered was harrowing. More recently, Otis told Lisa Brinkworth in \u003ca href=\"https://www.thetimes.co.uk/article/models-reveal-serial-sexual-abuse-behind-gloss-of-fashion-world-m50hdhxlz?wgu=270525_54264_16014038901379_56b51023a3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Times\u003c/em>\u003c/a> that, “The abuse was part of what was expected on the set from agents, photographers, stylists. If you don’t comply, you don’t work.”\u003c/p>\n\u003cp>In fact, looking at incidents reported by models and in the press as far back as the ’80s, an unhappy truth emerges: Marie is not an outlier in the industry. He is just one of several modeling executives to routinely appear connected to stories that involve inappropriate objectification at best, and sexual harassment and assault at worst.\u003c/p>\n\u003cp>An echo of Otis’ sentiment was expressed in 1988 during an \u003ca href=\"https://www.youtube.com/watch?v=CH8NAaPUvlo\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>60 Minutes\u003c/em>\u003c/a>, titled “American Girls in Paris.” In it, multiple models described exploitative and dangerous working conditions. One casually stated: “You’re there for the purpose of someone wanting to take you home to bed. [If you say no], you don’t work.” In the show, French agents including Claude Haddad from the Ford Agency and Jean-Luc Brunel of Karin Models were accused of sexual harassment and assault. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Decades later, Brunel was pursued by American authorities as part of the Jeffrey Epstein sex trafficking investigation. Epstein had financed the opening of Brunel’s Miami modeling agency, MC2, in 2005. Of the professional partnership, former model Courtney Powell Soerensen told the \u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Miami Herald\u003c/em>\u003c/a> in 2019: “Brunel had access to a network of young women and it was already his proclivity to behave that way. When he connected with Epstein, they realized they could do it together. He is just as guilty if not more so than Epstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2019, one model who said she was drugged and assaulted by Brunel in 1987 gave a sworn statement to French authorities about the incident. No charges were filed because the statute of limitations had run out.\u003c/p>\n\u003cp>One Epstein survivor, \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Roberts_Giuffre\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Roberts Giuffre\u003c/a>, claimed the financier once bragged to her that he had “slept with over a thousand of Brunel’s girls.” Brunel went into hiding after Epstein’s death last year and is now so infamous in his home country he’s earned the nickname “\u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">le fantôme\u003c/a>.”\u003c/p>\n\u003cp>Gérald Marie has been similarly slippery when it comes to being held accountable for the accusations leveled against him.\u003c/p>\n\u003cp>In 1999, a BBC investigative journalist named Donal MacIntyre went undercover and attempted to expose Marie in a television documentary. Despite revelations regarding Marie’s targeting of underage models, and an initial “unconditional apology” from Elite founder John Casablancas, Elite sued the BBC for defamation. The case was later settled out of court, with the BBC publicly stating that MacIntyre’s exposé had misrepresented Elite.\u003c/p>\n\u003cp>That lawsuit effectively shut down potential legal actions against Elite, and put Casablancas back on the offensive. “People aren’t allowed to be silly at 3am in the nightclub,” he said dismissively, “or in the privacy of their own home.” Regardless, the fallout from the BBC investigation prompted both Marie and another Elite executive, Xavier Moreau, to step down from their positions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it is Marie who has caused the most controversy at Elite over the years, a \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">2000 article for \u003cem>New York\u003c/em>\u003c/a> magazine quoted a rival fashion agent as saying: “John [Casablancas] was as bad as Gérald [Marie], but he had a more elegant manner.”\u003c/p>\n\u003cp>While Casablancas—who died in 2013—considered Marie a professional rival and was open about their fractious personal relationship, he also actively turned a blind eye to Marie’s behavior for the sake of his business.\u003c/p>\n\u003cp>Last year, Marie Anderson, who was vice president of Elite Chicago for seven years during the ’80s, told the French outlet \u003cem>\u003ca href=\"https://www.20minutes.fr/justice/2624635-20191011-jean-luc-brunel-insaisissable-ami-jeffrey-epstein-accuse-deux-cotes-atlantique\" target=\"_blank\" rel=\"noopener noreferrer\">20 Minutes\u003c/a>\u003c/em>: “It was the culture of the time, everyone knew. We thought that the only thing to do was to warn the girls.” Anderson went on to relay an incident in which one 18-year-old model called her in tears from Paris because of the coercive harassment she said she received from Marie. The model later admitted to Anderson that she had eventually given in to his sexual demands in order to get work.\u003c/p>\n\u003cp>A final straw for Anderson came after she witnessed Marie and Casablancas yelling at two of Elite’s top female executives. When Lisa Herzog and Trudi Tapscott asked Marie and Casablancas to “stop sleeping with underage models,” Casablancas is said to have told the women to “relax,” while Marie reportedly yelled: “Go screw yourselves!” Casablancas later \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s complaints\u003c/a> as an example of American puritanism. Anderson resigned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is all to say, women in the fashion industry have been trying to sound the alarm for decades. And yet flattering myths around these agency bosses—in particular, John Casablancas—have persisted. A 2016 Netflix documentary titled \u003ca href=\"https://www.netflix.com/title/80137087\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casablancas: The Man Who Loved Women\u003c/em>\u003c/a> works hard to hail the Elite founder as a maverick, hero and “starmaker.” This despite some jaw-dropping revelations in the film that are repeatedly glossed over.\u003c/p>\n\u003cp>In the documentary, the models in Casablancas and Marie’s midst are presented as beautiful objects to desire, use and discard. Models are seen wearing “Property of John Casablancas” T-shirts. Casablancas laughs at the memory of his father viewing his modeling agency as “a glorified brothel,” and he proudly explains that the original Elite logo “was a phallus and testicles … I loved it.”\u003c/p>\n\u003cp>More disturbing are his sexual relationships with teenagers. When Casablancas ends his marriage by beginning an affair with supermodel Stephanie Seymour, the fact that she’s 16 and he’s 42 garners only a brief mention. That “she broke [his] heart” is far more of a focus. That their break-up was prompted at least partially by an intervention from Seymour’s parents speaks volumes about the model’s immaturity at the time.\u003c/p>\n\u003cp>Later, when Casablancas talks about meeting Aline Wermelinger, a model he would marry when he was 49 and she was 17, his description of the moment is outstandingly creepy. He talks of her “baby face, green eyes and spectacular body … standing in front of us, innocent and pure.”\u003c/p>\n\u003cp>Footage of Casablancas being asked about his relationship with Wermelinger during a talk show appearance in the ’90s reveals him to be characteristically dismissive. “She comes from a country and I do too where there isn’t this fixation with age. People [in America] are obsessed with age … It’s my personal business, not yours.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, there are signs that small but significant shifts are afoot in fashion’s tolerance for such behavior. Emily Ratajkowski’s recent \u003ca href=\"https://www.thecut.com/article/emily-ratajkowski-owning-my-image-essay.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay for \u003cem>The Cut\u003c/em>\u003c/a>, which detailed her abuse and exploitation within the industry, garnered a refreshingly loud outcry. (If nothing else, it sent out a clear warning to any model who might consider working with photographer Jonathan Leder.)\u003c/p>\n\u003cp>In addition, \u003ca href=\"https://www.mariepanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marie Anderson\u003c/a> used her experience at Elite (as well as a number of other prominent agencies) to set up a coaching firm called \u003ca href=\"https://www.mariepanderson.com/boss-babe-models\" target=\"_blank\" rel=\"noopener noreferrer\">Boss Babes\u003c/a>. The company’s goal is to help young models navigate the industry, “while maintaining [their] purpose and dignity.”\u003c/p>\n\u003cp>Today, Gérald Marie is 70, the chairman of the Oui Management model agency and is on the defensive once again. But the Paris prosecutor’s office has confirmed it is investigating him. And the lawyer representing his accusers is also representing some of the women going after Brunel. These legal proceedings are beginning to look like a full-blown strategy, which—as the cases of Bill Cosby and Harvey Weinstein taught us—is essential if justice is ever to be served.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the buried voices of models can emerge from across the decades and shout loud enough about Marie and Brunel together, fashion might just finally get its #MeToo reckoning. Lord knows it’s long overdue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, Cynthia Nixon endorsed Sharon Stone to play Samantha Jones in \u003cem>Sex and the City 3\u003c/em>—and Stone told \u003cem>CNN\u003c/em> it would be an “\u003ca href=\"https://www.cnn.com/2020/09/24/entertainment/cynthia-nixon-sharon-stone-sex-city/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">honor\u003c/a>.” As most fans of the hugely popular HBO series already know, the follow up to 2010’s \u003cem>Sex and the City 2\u003c/em> movie was abandoned indefinitely after Kim Cattrall refused to participate. If anyone else could make the role of Samantha their own, it’s probably Stone. [aside postid='arts_13886425']\u003c/p>\n\u003cp>Before anyone starts drawing up expensive contracts though, it should be known that an alternative option has just sashayed into the picture. She’s a cat, she’s willing to wear a wig, and her owner has been making some very funny \u003cem>SATC\u003c/em> reenactment videos with her.\u003c/p>\n\u003cp>Actress and writer \u003ca href=\"https://www.imdb.com/name/nm0477363/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Kyle\u003c/a> brilliantly mimes along with the Carrie, Miranda and Charlotte dialogue (complete with appropriate dress and mannerisms) and then she leaves all of the Samantha content to her cat. The end result is considerably more fun to watch than \u003cem>Sex and the City 2\u003c/em> was.\u003c/p>\n\u003cp>Here’s that time Carrie filled out a dating service application:\u003c/p>\n\u003cp>https://www.instagram.com/p/CE18n_epemI/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that time Aiden proposed to Carrie:\u003c/p>\n\u003cp>https://www.instagram.com/p/CFHu6bcJJwc/\u003c/p>\n\u003cp>And that time Berger dumped Carrie via Post-it:\u003c/p>\n\u003cp>https://www.instagram.com/p/CFqCSsspReE/\u003c/p>\n\u003cp>And—of course—that time Carrie cheated with Big:\u003c/p>\n\u003cp>https://www.instagram.com/p/CEhcCW4J-GH/\u003c/p>\n\u003cp>Kyle only commenced acting with her cat at the start of August, presumably driven to it by sheltering in place for too long. Initially the duo were reenacting scenes from \u003cem>The Hills\u003c/em> (the \u003ca href=\"https://www.instagram.com/p/CDZfFSCJADy/\" target=\"_blank\" rel=\"noopener noreferrer\">cat was Lauren Conrad\u003c/a>), along with \u003ca href=\"https://www.instagram.com/p/CE9mJGQJPmI/\" target=\"_blank\" rel=\"noopener noreferrer\">a moment from \u003cem>Mean Girls\u003c/em>\u003c/a>. More recently, they did some very convincing dramatic work as Skyler and Walter White in \u003cem>Breaking Bad\u003c/em>:\u003c/p>\n\u003cp>https://www.instagram.com/p/CFe0mQoJIJh/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it’s with \u003cem>Sex and the City\u003c/em> that these two have really found their sweet spot. The dramatic partnership is in its very earliest stages—the four videos above are it for Kyle and cat’s \u003cem>SATC\u003c/em> content so far. But with 94 episodes and two movies to play with, this might be a gift that keeps on giving for months for come. Hell, we may not even need a third \u003cem>Sex and the City\u003c/em> movie now.\u003c/p>\n\n",
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"content": "\u003cp>Back in April, I wrote about \u003ca href=\"https://www.kqed.org/arts/13878589/how-to-go-live-on-facebook-and-instagram-without-boring-everyone\" target=\"_blank\" rel=\"noopener noreferrer\">how to go live on Facebook and Instagram without boring everyone\u003c/a>. I complained about the all-too-common practice of people hitting the live button and then reading \u003cem>Moby Dick\u003c/em> to their cat, or sitting on the couch eating snacks, or casually chatting to their spouse in a directionless manner. I pleaded with a sheltering-in-place America: \u003ca href=\"https://www.kqed.org/arts/13878589/how-to-go-live-on-facebook-and-instagram-without-boring-everyone\" target=\"_blank\" rel=\"noopener noreferrer\">please stop\u003c/a>.\u003c/p>\n\u003cp>Five months later, I stand by the assertion that nobody should ever go live on social media without first formulating an action plan. But I’d like to amend it now to say that Marc Maron—and only Marc Maron—is exempt from this rule. Marc Maron, it turns out, can do just about anything he feels like, with a combination of being both perpetually annoyed and fearlessly unfiltered. [aside postid='arts_13886425']\u003c/p>\n\u003cp>The comedian, podcaster and \u003cem>GLOW\u003c/em> actor has regularly gone live on Instagram since the start of shelter in place. But whereas Maron’s early live sessions were never archived, since mid-July they’ve been saved to his profile, meaning you can watch whenever the mood takes you. And oh, what a gift that is. Because Maron’s curmudgeonly commentary is so consistently dark and cynical, it automatically makes you feel like a sunnier, happier person. (The only time I’ve seen him truly happy on Instagram was the day \u003ca href=\"https://www.instagram.com/p/B_X-ES8jXE3/\" target=\"_blank\" rel=\"noopener noreferrer\">he made dry ice\u003c/a> in his kitchen.)\u003c/p>\n\u003cp>More than simple catharsis, though, is Maron’s ability to be effortlessly funny about whatever comes up in the chat, however mundane. I already mentioned unfiltered, too, right?\u003c/p>\n\u003cp>On the bread-baking trend: “It’s so funny. All that has diminished, hasn’t it? All those excited fuckin’ hipster dads. ‘We’re gonna bake!’ What are they doing now? Trying not to kill their family, that’s what they’re doing. ‘I’ve mastered sourdough and my family is dead in the basement!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the last movie he watched: “I don’t care how much talent there is in a project… If it’s set in the ’60s, it’s going to be hard to overcome that hair and those pants… Nothing that anyone did that was fun in the ’60s looks anything but stupid now.”\u003c/p>\n\u003cp>On his garden: “There’s some animal shitting in my yard and I don’t know what it is… I don’t do shit forensics. I do believe that the animal that’s shitting in my yard might be omnivorous. They’re definitely seeded turds. Which is a very fine name for a band with low self image: The Seeded Turds.” [aside postid='arts_13886027']\u003c/p>\n\u003cp>His videos, usually 45 minutes long, require some patience—the first five minutes usually consists of either his feet or his (very cute) cat—and there are gaps in delivery as he reads questions from viewers. But the payoff is that his life observations contain the very essence of what it is to be alive in 2020. It’s the opposite of escapism; one grumpy man complaining about the state of the world. But it’s the perfect respite when you want to wallow in whatever terrible thing has just happened, and everyone else you know is trying to find a silver lining.\u003c/p>\n\u003cp>When Maron’s girlfriend died suddenly in the middle of May, his profile went un-utilized for a month. Then, one of his beloved cats died at the start of August. Since those losses, he seems to be using Instagram Live as a distraction, a means to vent and feel better, and as an escape from his own isolation. The comfort of the open setting can sometimes feel like a help group.\u003c/p>\n\u003cp>“Hey, we’re all alone,” he said in an Aug. 2 video. “I’m alone. Whoever’s alone out there, I’m glad we got to hang out.” Same.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch all of Maron’s videos on \u003ca href=\"https://www.instagram.com/marcmaron\" target=\"_blank\" rel=\"noopener noreferrer\">his Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in April, I wrote about \u003ca href=\"https://www.kqed.org/arts/13878589/how-to-go-live-on-facebook-and-instagram-without-boring-everyone\" target=\"_blank\" rel=\"noopener noreferrer\">how to go live on Facebook and Instagram without boring everyone\u003c/a>. I complained about the all-too-common practice of people hitting the live button and then reading \u003cem>Moby Dick\u003c/em> to their cat, or sitting on the couch eating snacks, or casually chatting to their spouse in a directionless manner. I pleaded with a sheltering-in-place America: \u003ca href=\"https://www.kqed.org/arts/13878589/how-to-go-live-on-facebook-and-instagram-without-boring-everyone\" target=\"_blank\" rel=\"noopener noreferrer\">please stop\u003c/a>.\u003c/p>\n\u003cp>Five months later, I stand by the assertion that nobody should ever go live on social media without first formulating an action plan. But I’d like to amend it now to say that Marc Maron—and only Marc Maron—is exempt from this rule. Marc Maron, it turns out, can do just about anything he feels like, with a combination of being both perpetually annoyed and fearlessly unfiltered. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comedian, podcaster and \u003cem>GLOW\u003c/em> actor has regularly gone live on Instagram since the start of shelter in place. But whereas Maron’s early live sessions were never archived, since mid-July they’ve been saved to his profile, meaning you can watch whenever the mood takes you. And oh, what a gift that is. Because Maron’s curmudgeonly commentary is so consistently dark and cynical, it automatically makes you feel like a sunnier, happier person. (The only time I’ve seen him truly happy on Instagram was the day \u003ca href=\"https://www.instagram.com/p/B_X-ES8jXE3/\" target=\"_blank\" rel=\"noopener noreferrer\">he made dry ice\u003c/a> in his kitchen.)\u003c/p>\n\u003cp>More than simple catharsis, though, is Maron’s ability to be effortlessly funny about whatever comes up in the chat, however mundane. I already mentioned unfiltered, too, right?\u003c/p>\n\u003cp>On the bread-baking trend: “It’s so funny. All that has diminished, hasn’t it? All those excited fuckin’ hipster dads. ‘We’re gonna bake!’ What are they doing now? Trying not to kill their family, that’s what they’re doing. ‘I’ve mastered sourdough and my family is dead in the basement!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the last movie he watched: “I don’t care how much talent there is in a project… If it’s set in the ’60s, it’s going to be hard to overcome that hair and those pants… Nothing that anyone did that was fun in the ’60s looks anything but stupid now.”\u003c/p>\n\u003cp>On his garden: “There’s some animal shitting in my yard and I don’t know what it is… I don’t do shit forensics. I do believe that the animal that’s shitting in my yard might be omnivorous. They’re definitely seeded turds. Which is a very fine name for a band with low self image: The Seeded Turds.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His videos, usually 45 minutes long, require some patience—the first five minutes usually consists of either his feet or his (very cute) cat—and there are gaps in delivery as he reads questions from viewers. But the payoff is that his life observations contain the very essence of what it is to be alive in 2020. It’s the opposite of escapism; one grumpy man complaining about the state of the world. But it’s the perfect respite when you want to wallow in whatever terrible thing has just happened, and everyone else you know is trying to find a silver lining.\u003c/p>\n\u003cp>When Maron’s girlfriend died suddenly in the middle of May, his profile went un-utilized for a month. Then, one of his beloved cats died at the start of August. Since those losses, he seems to be using Instagram Live as a distraction, a means to vent and feel better, and as an escape from his own isolation. The comfort of the open setting can sometimes feel like a help group.\u003c/p>\n\u003cp>“Hey, we’re all alone,” he said in an Aug. 2 video. “I’m alone. Whoever’s alone out there, I’m glad we got to hang out.” Same.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch all of Maron’s videos on \u003ca href=\"https://www.instagram.com/marcmaron\" target=\"_blank\" rel=\"noopener noreferrer\">his Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rediscovering the Social and Spiritual Legacy of Oakland's Black Jazz Records",
"headTitle": "Rediscovering the Social and Spiritual Legacy of Oakland’s Black Jazz Records | KQED",
"content": "\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=QZ6lB7FKxi8\u003c/p>\n\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=38OXtiRZ2ig\u003c/p>\n\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q1iYOsc0dv4&list=PLwZ1XNI9r5B6IDrYVEwz85GQoMLMJu097\u003c/p>\n\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QjysP0PTthY\u003c/p>\n\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\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/QZ6lB7FKxi8'\n title='//www.youtube.com/embed/QZ6lB7FKxi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\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/38OXtiRZ2ig'\n title='//www.youtube.com/embed/38OXtiRZ2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\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/Q1iYOsc0dv4'\n title='//www.youtube.com/embed/Q1iYOsc0dv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\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/QjysP0PTthY'\n title='//www.youtube.com/embed/QjysP0PTthY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Wild Monkey Chase: Do Ken Kesey’s LSD-Dosed Apes Still Roam La Honda?",
"headTitle": "A Wild Monkey Chase: Do Ken Kesey’s LSD-Dosed Apes Still Roam La Honda? | KQED",
"content": "\u003cp>[dropcap]L[/dropcap]ast month, I found myself in La Honda for the very first time. This cozy corner of the Santa Cruz mountains is best known for providing safe havens over the years for the likes of Steve Jobs, Neil Young and Ken Kesey. I was there visiting friends who’d recently purchased a house nestled—as is the entire town—in a vast sea of towering redwoods.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">As I stood on my friend’s deck, drinking tea and admiring the view, a strange noise interrupted the chorus of birdsong.\u003c/p>\n\u003cp>“Ooh-ah-ah-ah-ah!”\u003c/p>\n\u003cp>“What the hell kind of bird is that?” I laughed. “It sounded exactly like a monkey!”\u003c/p>\n\u003cp>“Well, it \u003cem>might\u003c/em> be a bird,” my friend replied. “\u003cem>Or\u003c/em> … it might be the offspring of one of Ken Kesey’s LSD test monkeys.”\u003c/p>\n\u003cp>There is a story here, of course. And it’s a very good one. But before I go any further, I need to explain a few things about La Honda. La Honda is no ordinary countryside community. Hunter S. Thompson once referred to it as “the world capital of madness.” Of his time hanging out there he said, “There were no rules, fear was unknown, and sleep was out of the question.” [aside postid='news_139463']\u003c/p>\n\u003cp>In 1962, after the success of \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>, Ken Kesey moved to La Honda in pursuit of both privacy and freedom. He lived there for over a decade before renting his house out to various tenants and selling the home in \u003ca href=\"https://www.sfgate.com/news/article/Pranksters-Home-Base-On-the-Block-Kesey-2838522.php\" target=\"_blank\" rel=\"noopener noreferrer\">1997\u003c/a>.\u003c/p>\n\u003cp>Kesey was infamous in the ’60s for regularly throwing LSD-laced ragers there. Frequent guests included the Grateful Dead, Kesey’s band of Merry Pranksters, and an abundance of writers including Thompson, Allen Ginsberg, Tom Wolfe and Frank Reynolds. In 1965, Ginsberg wrote the poem, \u003ca href=\"https://www.youtube.com/watch?v=8sDai0VQcQA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Party at Ken Kesey’s With Hell’s Angels\u003c/em>\u003c/a> about a night at Kesey’s La Honda home. Wolfe later wrote about hanging out there in \u003cem>The Electric Kool-Aid Acid Test\u003c/em>.\u003c/p>\n\u003cp>Today, a sense of paranoia imbues the very bricks and mortar of the town. I cannot find one person from La Honda who will do an interview about La Honda without the cloak of anonymity. “It’s like a village,” one man who grew up there told me. “It’s really tight, isolated, everyone knows each other—but it’s got a lot of fringy, eccentric people in it and they don’t necessarily want outsiders knowing their business.”\u003c/p>\n\u003cp>[dropcap]M[/dropcap]y friend with the new house wasn’t clear on some of the details of what exactly happened with Ken Kesey and the LSD monkeys, so he directed me to a friend of his, who we’ll call Clyde. (This, of course, is not his real name.) Clyde grew up in Half Moon Bay but spent most of his youth in La Honda, hanging out with “the offspring of the Merry Pranksters.” Clyde says that, in the 1980s, sightings of the monkeys were so common, kids in La Honda had a nickname for them: “The Shaved.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886622 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-21-at-3.47.24-PM.png\" alt=\"\" width=\"401\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-21-at-3.47.24-PM.png 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-21-at-3.47.24-PM-160x126.png 160w\" sizes=\"(max-width: 401px) 100vw, 401px\">“Kids I knew talked about The Shaved,” Clyde explains. “Some had seen one. At first they thought it was a little kid—a lost kid or something. Because it was a little bit taller than knee-high and it was bald. Or at least kind of patchy—a little mangy, right? And so at first they would talk about this lost kid. But then other people said, ‘No, that’s a monkey.’ Because other people had seen this patchy, mangy dog-monkey too.”\u003c/p>\n\u003cp>Clyde’s version of how The Shaved came to roam the hills of La Honda is rooted in what he refers to as “lore” and “legend.” But he is convinced most of the rumors are true because of how many sources he’s heard them from. “I got the puzzle pieces at different points in my life,” he says, “from different people who weren’t connected.”\u003c/p>\n\u003cp>Clyde says that in the 1960s, Stanford University was receiving money from the government to conduct research into the effects of hallucinogens. This element of the story is \u003ca href=\"https://en.wikipedia.org/wiki/Project_MKUltra\" target=\"_blank\" rel=\"noopener noreferrer\">almost certainly true\u003c/a>. In fact, Ken Kesey’s first introduction to LSD happened in 1959, while studying at Stanford. He was given the drug after volunteering as a research subject at the university. Kesey’s experience of being drugged and studied at Menlo Park Veterans Hospital famously provided him with the inspiration for \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>.\u003c/p>\n\u003cp>Clyde says that the research involved testing drugs on monkeys too, and that one of the “three or four professors” conducting the Stanford research was a man named Bill Marquis. Marquis remains legendary in La Honda, and is referred to exclusively by locals as either “Monkey” or “Monkey Bill.” One man in a 2006 LSD \u003ca href=\"https://www.youtube.com/watch?v=47vt5Z5wxoI\" target=\"_blank\" rel=\"noopener noreferrer\">documentary\u003c/a> by Aron Ranen notes that Monkey Bill “never [gave the monkeys] one thing that he didn’t try first.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can find no online record of a Bill Marquis ever working at Stanford, but a 2001 article in the \u003ca href=\"https://www.hmbreview.com/the-kesey-legacy/article_02107cab-7afa-5600-8388-a3de74f43813.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Half Moon Bay Review\u003c/em>\u003c/a> states that he did. It also quotes Monkey Bill as saying: “Kesey is kind of why I came to La Honda [in 1968]. That group had a similar attitude to me on the benefits of LSD. I decided to go and see where Ken Kesey and the Pranksters did their work.” With this in mind, especially given the size and insularity of La Honda, a friendship between Monkey Bill and Kesey lives within the realm of possibility.\u003c/p>\n\u003cp>One woman who lived with Monkey Bill later in his life says he performed the tests on monkeys “in the early ’60s at Stanford.” In Clyde’s version, Monkey Bill had “25 to 35 primates” in the backyard of his home on Redwood Terrace that decade. If you ask the bartender of Apple Jack’s (an inn just down the hill from Ken Kesey’s old house), the monkeys were kept in Pescadero in a building that now houses the local coffee shop. Though the locations differ, no one disputes that Monkey Bill housed and regularly fed LSD to primates.\u003c/p>\n\u003cp>Clyde says those tests came to an end when the government shut down the research, and gave orders to euthanize the animals. But by that time, he says, “the amount of LSD everyone was taking was starting to take its toll on egos and psyches.” And so one night, Clyde says, “in a fit of compassion,” while Ken Kesey, the Merry Pranksters and Monkey Bill were “really high on LSD,” they released the primates into the wild.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886621 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-800x545.jpg\" alt=\"\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the months that followed, sightings of The Shaved were, according to Clyde, rampant. “They were finding monkeys snooping around in people’s houses,” he says. “They were finding them in their driveways, they were finding them dead. And these monkeys are living off people’s garbage. I heard they were friendly to humans. Some people would feed the monkeys and leave food out for them. And I was given the impression that Ken Kesey kept one of these monkeys.”\u003c/p>\n\u003cp>(This wouldn’t be terribly out of character. Kesey was a well-documented animal lover, keeping dogs throughout his life, as well as a pet parrot in the ’60s. In the ’90s, he kept kangaroo rats. Sadly, I can find no photographic evidence of Kesey with monkeys of any description.)\u003c/p>\n\u003cp>I ask Clyde if he knows whether Monkey Bill is still around. “I don’t think so,” Clyde shrugs. “By the ’80s, he was this crazy old hermit who never came outside. He was crazy. Like, babbling crazy.” The Apple Jack’s bartender backs this up. “Monkey Bill used to live about four miles up the road from here,” she told me. “He’s gone now. He went a little …” She taps the side of her head as she says this.\u003c/p>\n\u003cp>The woman in the 2006 documentary said Monkey Bill had gotten better later in life. “He went crazy for a little bit and then he had to stop his work,” she said. Still, in the same video, Monkey Bill was well enough to speak on camera. Unfortunately, the information he offered up through a straggly beard, between drags on a cigarette, ultimately creates more questions than it answers.\u003c/p>\n\u003cp>“I had contracts with the DEA in case they found a drug on the street that they couldn’t identify,” Monkey Bill says in the video. “They’d run it through the behavioral tests that I’d set up.” [aside postID='arts_13858117']\u003c/p>\n\u003cp>Monkey Bill confirms that he kept the monkeys in his backyard—but that it happened between 1974 and ’76. “Eventually I brought the monkeys out here. We had a huge facility for them,” he says. “I had, I think, six monkeys and we were giving them various psychedelic drugs at that time, that the government was synthesizing and sending to me. [The monkeys] would get very still on the psychedelic drugs. Higher doses, their eyes would dart back and forth.”\u003c/p>\n\u003cp>In the clip, Monkey Bill doesn’t confirm where earlier tests took place, nor does he mention Stanford University. Crucially, he doesn’t admit to freeing them either—but who would? Though Monkey Bill’s dates don’t line up with Ken Kesey’s LSD party heyday, estimations still put Ken Kesey in La Honda at that time. Now that both Monkey Bill and Ken Kesey are no longer with us, it’s almost impossible to verify what fates the LSD test monkeys met.\u003c/p>\n\u003cp>On my visit to Apple Jack’s, I asked one local biker if he had heard the rumors. “I never heard anything about monkeys,” he said, “but I’ve only been here three years. To be honest, I would \u003cem>not\u003c/em> be surprised if they turned out to be true.” So I told him the thing that started this story in the first place; the thing I keep going back to as I try and make sense of decades of La Honda secrets.\u003c/p>\n\u003cp>\u003cem>I definitely heard a monkey.\u003c/em>\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>\u003cem>The original text of this story stated that both Allen Ginsberg and Hunter S. Thompson had lived in La Honda. Details were amended after Lee Quarnstrom, one of the Merry Pranksters, contacted KQED Arts to clarify that, while both writers were frequent visitors, neither of them were ever residents of La Honda. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Are there freed lab monkeys living in the Santa Cruz mountains? If you ask around La Honda, the answer is a very paranoid \"yes.\"",
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"description": "Are there freed lab monkeys living in the Santa Cruz mountains? If you ask around La Honda, the answer is a very paranoid "yes."",
"title": "A Wild Monkey Chase: Do Ken Kesey’s LSD-Dosed Apes Still Roam La Honda? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>ast month, I found myself in La Honda for the very first time. This cozy corner of the Santa Cruz mountains is best known for providing safe havens over the years for the likes of Steve Jobs, Neil Young and Ken Kesey. I was there visiting friends who’d recently purchased a house nestled—as is the entire town—in a vast sea of towering redwoods.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">As I stood on my friend’s deck, drinking tea and admiring the view, a strange noise interrupted the chorus of birdsong.\u003c/p>\n\u003cp>“Ooh-ah-ah-ah-ah!”\u003c/p>\n\u003cp>“What the hell kind of bird is that?” I laughed. “It sounded exactly like a monkey!”\u003c/p>\n\u003cp>“Well, it \u003cem>might\u003c/em> be a bird,” my friend replied. “\u003cem>Or\u003c/em> … it might be the offspring of one of Ken Kesey’s LSD test monkeys.”\u003c/p>\n\u003cp>There is a story here, of course. And it’s a very good one. But before I go any further, I need to explain a few things about La Honda. La Honda is no ordinary countryside community. Hunter S. Thompson once referred to it as “the world capital of madness.” Of his time hanging out there he said, “There were no rules, fear was unknown, and sleep was out of the question.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1962, after the success of \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>, Ken Kesey moved to La Honda in pursuit of both privacy and freedom. He lived there for over a decade before renting his house out to various tenants and selling the home in \u003ca href=\"https://www.sfgate.com/news/article/Pranksters-Home-Base-On-the-Block-Kesey-2838522.php\" target=\"_blank\" rel=\"noopener noreferrer\">1997\u003c/a>.\u003c/p>\n\u003cp>Kesey was infamous in the ’60s for regularly throwing LSD-laced ragers there. Frequent guests included the Grateful Dead, Kesey’s band of Merry Pranksters, and an abundance of writers including Thompson, Allen Ginsberg, Tom Wolfe and Frank Reynolds. In 1965, Ginsberg wrote the poem, \u003ca href=\"https://www.youtube.com/watch?v=8sDai0VQcQA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Party at Ken Kesey’s With Hell’s Angels\u003c/em>\u003c/a> about a night at Kesey’s La Honda home. Wolfe later wrote about hanging out there in \u003cem>The Electric Kool-Aid Acid Test\u003c/em>.\u003c/p>\n\u003cp>Today, a sense of paranoia imbues the very bricks and mortar of the town. I cannot find one person from La Honda who will do an interview about La Honda without the cloak of anonymity. “It’s like a village,” one man who grew up there told me. “It’s really tight, isolated, everyone knows each other—but it’s got a lot of fringy, eccentric people in it and they don’t necessarily want outsiders knowing their business.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>y friend with the new house wasn’t clear on some of the details of what exactly happened with Ken Kesey and the LSD monkeys, so he directed me to a friend of his, who we’ll call Clyde. (This, of course, is not his real name.) Clyde grew up in Half Moon Bay but spent most of his youth in La Honda, hanging out with “the offspring of the Merry Pranksters.” Clyde says that, in the 1980s, sightings of the monkeys were so common, kids in La Honda had a nickname for them: “The Shaved.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886622 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-21-at-3.47.24-PM.png\" alt=\"\" width=\"401\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-21-at-3.47.24-PM.png 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-21-at-3.47.24-PM-160x126.png 160w\" sizes=\"(max-width: 401px) 100vw, 401px\">“Kids I knew talked about The Shaved,” Clyde explains. “Some had seen one. At first they thought it was a little kid—a lost kid or something. Because it was a little bit taller than knee-high and it was bald. Or at least kind of patchy—a little mangy, right? And so at first they would talk about this lost kid. But then other people said, ‘No, that’s a monkey.’ Because other people had seen this patchy, mangy dog-monkey too.”\u003c/p>\n\u003cp>Clyde’s version of how The Shaved came to roam the hills of La Honda is rooted in what he refers to as “lore” and “legend.” But he is convinced most of the rumors are true because of how many sources he’s heard them from. “I got the puzzle pieces at different points in my life,” he says, “from different people who weren’t connected.”\u003c/p>\n\u003cp>Clyde says that in the 1960s, Stanford University was receiving money from the government to conduct research into the effects of hallucinogens. This element of the story is \u003ca href=\"https://en.wikipedia.org/wiki/Project_MKUltra\" target=\"_blank\" rel=\"noopener noreferrer\">almost certainly true\u003c/a>. In fact, Ken Kesey’s first introduction to LSD happened in 1959, while studying at Stanford. He was given the drug after volunteering as a research subject at the university. Kesey’s experience of being drugged and studied at Menlo Park Veterans Hospital famously provided him with the inspiration for \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>.\u003c/p>\n\u003cp>Clyde says that the research involved testing drugs on monkeys too, and that one of the “three or four professors” conducting the Stanford research was a man named Bill Marquis. Marquis remains legendary in La Honda, and is referred to exclusively by locals as either “Monkey” or “Monkey Bill.” One man in a 2006 LSD \u003ca href=\"https://www.youtube.com/watch?v=47vt5Z5wxoI\" target=\"_blank\" rel=\"noopener noreferrer\">documentary\u003c/a> by Aron Ranen notes that Monkey Bill “never [gave the monkeys] one thing that he didn’t try first.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I can find no online record of a Bill Marquis ever working at Stanford, but a 2001 article in the \u003ca href=\"https://www.hmbreview.com/the-kesey-legacy/article_02107cab-7afa-5600-8388-a3de74f43813.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Half Moon Bay Review\u003c/em>\u003c/a> states that he did. It also quotes Monkey Bill as saying: “Kesey is kind of why I came to La Honda [in 1968]. That group had a similar attitude to me on the benefits of LSD. I decided to go and see where Ken Kesey and the Pranksters did their work.” With this in mind, especially given the size and insularity of La Honda, a friendship between Monkey Bill and Kesey lives within the realm of possibility.\u003c/p>\n\u003cp>One woman who lived with Monkey Bill later in his life says he performed the tests on monkeys “in the early ’60s at Stanford.” In Clyde’s version, Monkey Bill had “25 to 35 primates” in the backyard of his home on Redwood Terrace that decade. If you ask the bartender of Apple Jack’s (an inn just down the hill from Ken Kesey’s old house), the monkeys were kept in Pescadero in a building that now houses the local coffee shop. Though the locations differ, no one disputes that Monkey Bill housed and regularly fed LSD to primates.\u003c/p>\n\u003cp>Clyde says those tests came to an end when the government shut down the research, and gave orders to euthanize the animals. But by that time, he says, “the amount of LSD everyone was taking was starting to take its toll on egos and psyches.” And so one night, Clyde says, “in a fit of compassion,” while Ken Kesey, the Merry Pranksters and Monkey Bill were “really high on LSD,” they released the primates into the wild.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886621 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-800x545.jpg\" alt=\"\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Monkeys.LaHonda.Shaved.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the months that followed, sightings of The Shaved were, according to Clyde, rampant. “They were finding monkeys snooping around in people’s houses,” he says. “They were finding them in their driveways, they were finding them dead. And these monkeys are living off people’s garbage. I heard they were friendly to humans. Some people would feed the monkeys and leave food out for them. And I was given the impression that Ken Kesey kept one of these monkeys.”\u003c/p>\n\u003cp>(This wouldn’t be terribly out of character. Kesey was a well-documented animal lover, keeping dogs throughout his life, as well as a pet parrot in the ’60s. In the ’90s, he kept kangaroo rats. Sadly, I can find no photographic evidence of Kesey with monkeys of any description.)\u003c/p>\n\u003cp>I ask Clyde if he knows whether Monkey Bill is still around. “I don’t think so,” Clyde shrugs. “By the ’80s, he was this crazy old hermit who never came outside. He was crazy. Like, babbling crazy.” The Apple Jack’s bartender backs this up. “Monkey Bill used to live about four miles up the road from here,” she told me. “He’s gone now. He went a little …” She taps the side of her head as she says this.\u003c/p>\n\u003cp>The woman in the 2006 documentary said Monkey Bill had gotten better later in life. “He went crazy for a little bit and then he had to stop his work,” she said. Still, in the same video, Monkey Bill was well enough to speak on camera. Unfortunately, the information he offered up through a straggly beard, between drags on a cigarette, ultimately creates more questions than it answers.\u003c/p>\n\u003cp>“I had contracts with the DEA in case they found a drug on the street that they couldn’t identify,” Monkey Bill says in the video. “They’d run it through the behavioral tests that I’d set up.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monkey Bill confirms that he kept the monkeys in his backyard—but that it happened between 1974 and ’76. “Eventually I brought the monkeys out here. We had a huge facility for them,” he says. “I had, I think, six monkeys and we were giving them various psychedelic drugs at that time, that the government was synthesizing and sending to me. [The monkeys] would get very still on the psychedelic drugs. Higher doses, their eyes would dart back and forth.”\u003c/p>\n\u003cp>In the clip, Monkey Bill doesn’t confirm where earlier tests took place, nor does he mention Stanford University. Crucially, he doesn’t admit to freeing them either—but who would? Though Monkey Bill’s dates don’t line up with Ken Kesey’s LSD party heyday, estimations still put Ken Kesey in La Honda at that time. Now that both Monkey Bill and Ken Kesey are no longer with us, it’s almost impossible to verify what fates the LSD test monkeys met.\u003c/p>\n\u003cp>On my visit to Apple Jack’s, I asked one local biker if he had heard the rumors. “I never heard anything about monkeys,” he said, “but I’ve only been here three years. To be honest, I would \u003cem>not\u003c/em> be surprised if they turned out to be true.” So I told him the thing that started this story in the first place; the thing I keep going back to as I try and make sense of decades of La Honda secrets.\u003c/p>\n\u003cp>\u003cem>I definitely heard a monkey.\u003c/em>\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>\u003cem>The original text of this story stated that both Allen Ginsberg and Hunter S. Thompson had lived in La Honda. Details were amended after Lee Quarnstrom, one of the Merry Pranksters, contacted KQED Arts to clarify that, while both writers were frequent visitors, neither of them were ever residents of La Honda. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When big, important people die, it’s easy to overuse the term “iconic,” but the title fits Justice Ruth Bader Ginsburg. Outside the halls of the Supreme Court, she had another life in pop culture as a symbol of both dissent and feminism. And maybe nothing has cemented her place there more than \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Played by \u003cem>SNL\u003c/em> cast member Kate McKinnon, this version of Ginsburg—let’s call her RBG—was spry and punchy. As questions about the real Ginsburg’s age and health popped up in the news, RBG on \u003cem>SNL\u003c/em> danced and yelled and rolled her eyes, tossing out insults that would be known as “Ginsburns.” Particularly as President Trump’s administration came into power, the driving message behind RBG was—she wasn’t going anywhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aY8A2cpK6tg\u003c/p>\n\u003cp>In a statement, McKinnon said it was a “profound joy” to play her.\u003c/p>\n\u003cblockquote>\u003cp>For so many of us, Justice Ginsburg was a real-life superhero: a beacon of hope, a warrior for justice, a robed crusader who saved the day time and again. Playing her on \u003cem>SNL\u003c/em> was a profound joy because I could always feel the overwhelming love and gratitude that the audience had for her. It was one of the great honors of my life to meet Justice Ginsburg, to shake her hand, and to thank her for her lifetime of service to this country.\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the RBG phenomenon went beyond \u003cem>Saturday Night Live\u003c/em>. In 2018 she got both her own biopic and Oscar-nominated documentary. People were enraptured—finding out about her clothes, her accessories, her diet and exercise regimen (her trainer, Bryant Johnson, \u003ca href=\"http://rbgworkout.com/in-the-news/\" target=\"_blank\" rel=\"noopener noreferrer\">published a book\u003c/a> about her workout, inspiring headlines like “\u003ca href=\"https://melmagazine.com/en-us/story/i-got-my-ass-kicked-by-ruth-bader-ginsburgs-personal-trainer\" target=\"_blank\" rel=\"noopener noreferrer\">I Got My Ass Kicked By Ruth Bader Ginsburg’s Personal Trainer\u003c/a>“).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=0oBodJHX1Vg\u003c/p>\n\u003cp>She was even given a nickname, The Notorious RBG—cribbed from the late rapper The Notorious B.I.G. Whenever she was asked how she felt about the comparison, such as in the above clip from \u003cem>The Late Show with Stephen Colbert\u003c/em>, she’d reply that she had one thing in common with the rapper: “We were both born and raised in Brooklyn, New York.”\u003c/p>\n\u003cp>Shana Knizhnik doesn’t think the similarity ended there; “I think they both speak truth to power and can pack a verbal punch,” she told NPR in 2015.\u003c/p>\n\u003cp>Knizhnik started the \u003ca href=\"https://notoriousrbg.tumblr.com/\">Tumblr page\u003c/a> that propelled much of the RBG fandom when she was a law student at NYU. Knizhnik and journalist Irin Carmon turned the page into a book, \u003cem>Notorious RBG: The Life and Times of Ruth Bader Ginsburg\u003c/em>. Carmon told NPR upon the book’s publication that the Internet allowed women to choose their own heroes, and it’s no surprise that many were drawn to a figure who was constantly underestimated.\u003c/p>\n\u003cp>“I think a lot of young women know what it’s like to be underestimated in that way, and they’re inspired by the fact that she has so much integrity in who she is,” said Carmon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=biIRlcQqmOc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The memeification of RBG of course means that you can find her face on T-Shirts and tote bags and onesies and mugs. There are \u003ca href=\"https://www.cnn.com/2020/09/20/us/rbg-mural-black-lives-matter-plaza-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">murals of her\u003c/a> \u003ca href=\"https://www.washingtonpost.com/dc-md-va/2019/09/19/newest-mural-town-ruth-bader-ginsburg-is-larger-than-life-u-street/\" target=\"_blank\" rel=\"noopener noreferrer\">in Washington, D.C.\u003c/a> In a way, RBG actually has more in common with Biggie than the real Justice Ginsburg might have realized—both became icons who will continue to have a \u003ca href=\"https://www.youtube.com/watch?v=fidVl3QOwQ8&list=PLA9F10DF923CED93A&index=1\" target=\"_blank\" rel=\"noopener noreferrer\">life after death\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=From+%27SNL%27+To+Workout+Videos%2C+How+RBG+Became+A+Pop+Culture+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When big, important people die, it’s easy to overuse the term “iconic,” but the title fits Justice Ruth Bader Ginsburg. Outside the halls of the Supreme Court, she had another life in pop culture as a symbol of both dissent and feminism. And maybe nothing has cemented her place there more than \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Played by \u003cem>SNL\u003c/em> cast member Kate McKinnon, this version of Ginsburg—let’s call her RBG—was spry and punchy. As questions about the real Ginsburg’s age and health popped up in the news, RBG on \u003cem>SNL\u003c/em> danced and yelled and rolled her eyes, tossing out insults that would be known as “Ginsburns.” Particularly as President Trump’s administration came into power, the driving message behind RBG was—she wasn’t going anywhere.\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/aY8A2cpK6tg'\n title='//www.youtube.com/embed/aY8A2cpK6tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a statement, McKinnon said it was a “profound joy” to play her.\u003c/p>\n\u003cblockquote>\u003cp>For so many of us, Justice Ginsburg was a real-life superhero: a beacon of hope, a warrior for justice, a robed crusader who saved the day time and again. Playing her on \u003cem>SNL\u003c/em> was a profound joy because I could always feel the overwhelming love and gratitude that the audience had for her. It was one of the great honors of my life to meet Justice Ginsburg, to shake her hand, and to thank her for her lifetime of service to this country.\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the RBG phenomenon went beyond \u003cem>Saturday Night Live\u003c/em>. In 2018 she got both her own biopic and Oscar-nominated documentary. People were enraptured—finding out about her clothes, her accessories, her diet and exercise regimen (her trainer, Bryant Johnson, \u003ca href=\"http://rbgworkout.com/in-the-news/\" target=\"_blank\" rel=\"noopener noreferrer\">published a book\u003c/a> about her workout, inspiring headlines like “\u003ca href=\"https://melmagazine.com/en-us/story/i-got-my-ass-kicked-by-ruth-bader-ginsburgs-personal-trainer\" target=\"_blank\" rel=\"noopener noreferrer\">I Got My Ass Kicked By Ruth Bader Ginsburg’s Personal Trainer\u003c/a>“).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0oBodJHX1Vg'\n title='//www.youtube.com/embed/0oBodJHX1Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She was even given a nickname, The Notorious RBG—cribbed from the late rapper The Notorious B.I.G. Whenever she was asked how she felt about the comparison, such as in the above clip from \u003cem>The Late Show with Stephen Colbert\u003c/em>, she’d reply that she had one thing in common with the rapper: “We were both born and raised in Brooklyn, New York.”\u003c/p>\n\u003cp>Shana Knizhnik doesn’t think the similarity ended there; “I think they both speak truth to power and can pack a verbal punch,” she told NPR in 2015.\u003c/p>\n\u003cp>Knizhnik started the \u003ca href=\"https://notoriousrbg.tumblr.com/\">Tumblr page\u003c/a> that propelled much of the RBG fandom when she was a law student at NYU. Knizhnik and journalist Irin Carmon turned the page into a book, \u003cem>Notorious RBG: The Life and Times of Ruth Bader Ginsburg\u003c/em>. Carmon told NPR upon the book’s publication that the Internet allowed women to choose their own heroes, and it’s no surprise that many were drawn to a figure who was constantly underestimated.\u003c/p>\n\u003cp>“I think a lot of young women know what it’s like to be underestimated in that way, and they’re inspired by the fact that she has so much integrity in who she is,” said Carmon.\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/biIRlcQqmOc'\n title='//www.youtube.com/embed/biIRlcQqmOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The memeification of RBG of course means that you can find her face on T-Shirts and tote bags and onesies and mugs. There are \u003ca href=\"https://www.cnn.com/2020/09/20/us/rbg-mural-black-lives-matter-plaza-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">murals of her\u003c/a> \u003ca href=\"https://www.washingtonpost.com/dc-md-va/2019/09/19/newest-mural-town-ruth-bader-ginsburg-is-larger-than-life-u-street/\" target=\"_blank\" rel=\"noopener noreferrer\">in Washington, D.C.\u003c/a> In a way, RBG actually has more in common with Biggie than the real Justice Ginsburg might have realized—both became icons who will continue to have a \u003ca href=\"https://www.youtube.com/watch?v=fidVl3QOwQ8&list=PLA9F10DF923CED93A&index=1\" target=\"_blank\" rel=\"noopener noreferrer\">life after death\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=From+%27SNL%27+To+Workout+Videos%2C+How+RBG+Became+A+Pop+Culture+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'PEN15' is Back, and Girlhood is Still Painfully Awkward",
"headTitle": "‘PEN15’ is Back, and Girlhood is Still Painfully Awkward | KQED",
"content": "\u003cp>On her 2001 album \u003cem>Britney\u003c/em>, Britney Spears declared herself “\u003ca href=\"https://www.youtube.com/watch?v=dOumNJK1X_M\" target=\"_blank\" rel=\"noopener noreferrer\">not a girl, not yet a woman\u003c/a>.” In that sleepy ballad, the then-19-year-old pop star and sex symbol stressed her need for more time to grow up while cautioning you, the listener, against trying to protect her. “I’ve seen so much more than you know now/ So don’t tell me to shut my eyes,” she croons in her signature guttural, Britney-like way.\u003c/p>\n\u003cp>I thought a lot about this song while watching the first half of \u003cem>PEN15 \u003c/em>Season 2, Hulu’s charmingly perceptive coming-of-age comedy, released on September 18. The protagonists Maya and Anna are not teen idols, and at 13, they are still firmly in girlhood. But as suburban middle-schoolers entering puberty during the peak-Britney era—the show is set in 2000—they understand profoundly what it means to oscillate between burgeoning maturity and childish innocence.\u003c/p>\n\u003cp>The first season deftly conveyed the messy, painful, exciting and horrifying nuances of adolescence through period-specific devices like AOL Instant Messenger and an ingenious bit of casting: The millennial co-creators (along with Sam Zvibleman) Maya Erskine and Anna Konkle star as versions of their much younger selves alongside actual 13-year-old actors. In Season 2 they’ve found new ways to burrow the growing pangs and embarrassments even deeper, to cathartic effect.\u003c/p>\n\u003cp>The show picks up just two days after the events of the Season 1 finale, which included Maya and Anna being felt up by Maya’s crush Brandt (Jonah Beres) in the janitor’s closet at the fall dance. Brandt admitted he likes Maya, too, but warned her not to tell anyone.\u003c/p>\n\u003cp>Of course crushes rarely stay secret for long among loose-lipped tweens, and this is doubly true for any experimenting they do with one another. When Brandt rebuffs Maya at a pool party in the first of the new episodes and insists their closet encounter never happened, a despondent Maya and Anna proceed to go around to each of their classmates and divulge the details to prove that it did. The gossip backfires on the girls; at school, they are slut-shamed and given a nickname based on the dismissive (and false) description Brandt tells his guy friends about what he did with them at the dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The land of Y.A.-themed pop culture is littered with versions of this plotline, and recent dramas like the cringe-inducing \u003cem>Eighth Grade\u003c/em> and the \u003ca href=\"https://www.npr.org/2020/09/06/909753465/cuties-calls-out-the-hypersexualization-of-young-girls-and-gets-criticized\" target=\"_blank\" rel=\"noopener noreferrer\">unjustifiably ridiculed \u003cem>Cuties\u003c/em>\u003c/a> have offered thoughtful and progressive examinations of how young girls are simultaneously encouraged to grow up fast and scolded for doing so.\u003cem> PEN15 \u003c/em>does the same, but it aims to find a sweet spot between comedic and dramatic extremes. Maya and Anna’s immaturity and (attempts at) maturity are embraced equally: The girls are proud of their PG-rated dalliance, but they deal with the fallout—as well as other issues requiring a level of sophistication they understandably don’t possess quite yet—in distinctively childlike ways.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oFAHiU0g0xQ\u003c/p>\n\u003cp>In the third episode “Vendy Wiccany,” for instance, they become obsessed with creating their own wiccan practice as a way to channel anxieties about everything going on at school and home—Anna is struggling to come to terms with the dissolution of her parents’ marriage and Maya misses her father, who is constantly traveling for work. Both are trying to cope with the Brandt rumors. (“If he was my boyfriend, then no one would be saying the stuff they’re saying to us,” Maya reasons, when deciding to cast a love spell on Brandt.)\u003c/p>\n\u003cp>But the game of pretend spirals out of control quickly, to the point where it disturbs their classmates and reveals their underdeveloped emotional EQs. Maya unfurls unsettling stalker-like tendencies toward Brandt. They threaten to cast a hex on students who spy on them in the school greenhouse, and burst into a horrifying (but funny) chant of gibberish while convulsing, which ultimately gets them sent to the principal’s office and draws in their bewildered parents.\u003c/p>\n\u003cp>This realm of make-believe is an extension of a lighter facet of their personalities. Despite being in their early teens, a time when most of us are eager to ditch any childhood affinities that might make our peers think we’re stuck in elementary school, the girls still play with dolls unironically. At a sleepover with a new friend, they play a prank on the other girls in attendance involving Maya emerging from a duffle bag as if she were \u003ca href=\"https://www.youtube.com/watch?v=JjIXwkX1e48\" target=\"_blank\" rel=\"noopener noreferrer\">The Thing bursting from Norris’ chest\u003c/a>; the joke receives only a tepid reception. (“You guys are so weird sometimes,” their friend reacts condescendingly.)\u003c/p>\n\u003cp>Like most kids, Maya and Anna want to fit in and have newly developed sexual urges. But they are also still, undeniably, 13-year-olds—13-year-olds who seem very cognizant, perhaps for the first time in their short lives, of the passage of time and how it is changing them. At the end of “Vendy Wiccany,” the girls break down over the realization that life isn’t as simple as it once was. As Maya embraces a crying Anna and tells her that she loves her, the bond between them is visceral; \u003cem>PEN15\u003c/em>‘s unique ability to tap into the many gradients of puberty is palpable.\u003c/p>\n\u003cp>In 1999, when she was just 17, Britney Spears was featured in an \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\" target=\"_blank\" rel=\"noopener noreferrer\">infamous \u003cem>Rolling Stone\u003c/em> cover shoot\u003c/a>, cradling a stuffed purple Teletubby toy in one arm while posed against a pink satin backdrop in lingerie. It succinctly encapsulated the blurry, polarizing line she often straddled between bubbly, youthful innocence and teen sex symbol at the time. I remember being around the same age as Maya and Anna are when that cover came out, and aware of the handwringing it caused over how it might influence young girls like myself. Much of the public didn’t know what to make of this dichotomy (and still doesn’t, judging by the faux outrage aimed at \u003cem>Cuties\u003c/em> earlier this month). It’s not surprising that Britney would go on to record “I’m Not a Girl, Not Yet a Woman,” a song utterly transparent in its attempt to acknowledge the mixed reactions to her image as a child star.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>PEN15 \u003c/em>is the weirder, funnier and completely un-sexy spiritual companion to Britney cradling that Teletubby, and the more soulful counterpart to “Not a Girl.” It works because, amidst the delightful crudeness and silliness, its creators show a clear compassion for their younger selves, a compassion that is too often not extended to the Mayas, Annas or Britneys of the world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27PEN15%27+Is+Back%2C+And+Girlhood+Is+Still+Painfully+Awkward+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On her 2001 album \u003cem>Britney\u003c/em>, Britney Spears declared herself “\u003ca href=\"https://www.youtube.com/watch?v=dOumNJK1X_M\" target=\"_blank\" rel=\"noopener noreferrer\">not a girl, not yet a woman\u003c/a>.” In that sleepy ballad, the then-19-year-old pop star and sex symbol stressed her need for more time to grow up while cautioning you, the listener, against trying to protect her. “I’ve seen so much more than you know now/ So don’t tell me to shut my eyes,” she croons in her signature guttural, Britney-like way.\u003c/p>\n\u003cp>I thought a lot about this song while watching the first half of \u003cem>PEN15 \u003c/em>Season 2, Hulu’s charmingly perceptive coming-of-age comedy, released on September 18. The protagonists Maya and Anna are not teen idols, and at 13, they are still firmly in girlhood. But as suburban middle-schoolers entering puberty during the peak-Britney era—the show is set in 2000—they understand profoundly what it means to oscillate between burgeoning maturity and childish innocence.\u003c/p>\n\u003cp>The first season deftly conveyed the messy, painful, exciting and horrifying nuances of adolescence through period-specific devices like AOL Instant Messenger and an ingenious bit of casting: The millennial co-creators (along with Sam Zvibleman) Maya Erskine and Anna Konkle star as versions of their much younger selves alongside actual 13-year-old actors. In Season 2 they’ve found new ways to burrow the growing pangs and embarrassments even deeper, to cathartic effect.\u003c/p>\n\u003cp>The show picks up just two days after the events of the Season 1 finale, which included Maya and Anna being felt up by Maya’s crush Brandt (Jonah Beres) in the janitor’s closet at the fall dance. Brandt admitted he likes Maya, too, but warned her not to tell anyone.\u003c/p>\n\u003cp>Of course crushes rarely stay secret for long among loose-lipped tweens, and this is doubly true for any experimenting they do with one another. When Brandt rebuffs Maya at a pool party in the first of the new episodes and insists their closet encounter never happened, a despondent Maya and Anna proceed to go around to each of their classmates and divulge the details to prove that it did. The gossip backfires on the girls; at school, they are slut-shamed and given a nickname based on the dismissive (and false) description Brandt tells his guy friends about what he did with them at the dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The land of Y.A.-themed pop culture is littered with versions of this plotline, and recent dramas like the cringe-inducing \u003cem>Eighth Grade\u003c/em> and the \u003ca href=\"https://www.npr.org/2020/09/06/909753465/cuties-calls-out-the-hypersexualization-of-young-girls-and-gets-criticized\" target=\"_blank\" rel=\"noopener noreferrer\">unjustifiably ridiculed \u003cem>Cuties\u003c/em>\u003c/a> have offered thoughtful and progressive examinations of how young girls are simultaneously encouraged to grow up fast and scolded for doing so.\u003cem> PEN15 \u003c/em>does the same, but it aims to find a sweet spot between comedic and dramatic extremes. Maya and Anna’s immaturity and (attempts at) maturity are embraced equally: The girls are proud of their PG-rated dalliance, but they deal with the fallout—as well as other issues requiring a level of sophistication they understandably don’t possess quite yet—in distinctively childlike ways.\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/oFAHiU0g0xQ'\n title='//www.youtube.com/embed/oFAHiU0g0xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the third episode “Vendy Wiccany,” for instance, they become obsessed with creating their own wiccan practice as a way to channel anxieties about everything going on at school and home—Anna is struggling to come to terms with the dissolution of her parents’ marriage and Maya misses her father, who is constantly traveling for work. Both are trying to cope with the Brandt rumors. (“If he was my boyfriend, then no one would be saying the stuff they’re saying to us,” Maya reasons, when deciding to cast a love spell on Brandt.)\u003c/p>\n\u003cp>But the game of pretend spirals out of control quickly, to the point where it disturbs their classmates and reveals their underdeveloped emotional EQs. Maya unfurls unsettling stalker-like tendencies toward Brandt. They threaten to cast a hex on students who spy on them in the school greenhouse, and burst into a horrifying (but funny) chant of gibberish while convulsing, which ultimately gets them sent to the principal’s office and draws in their bewildered parents.\u003c/p>\n\u003cp>This realm of make-believe is an extension of a lighter facet of their personalities. Despite being in their early teens, a time when most of us are eager to ditch any childhood affinities that might make our peers think we’re stuck in elementary school, the girls still play with dolls unironically. At a sleepover with a new friend, they play a prank on the other girls in attendance involving Maya emerging from a duffle bag as if she were \u003ca href=\"https://www.youtube.com/watch?v=JjIXwkX1e48\" target=\"_blank\" rel=\"noopener noreferrer\">The Thing bursting from Norris’ chest\u003c/a>; the joke receives only a tepid reception. (“You guys are so weird sometimes,” their friend reacts condescendingly.)\u003c/p>\n\u003cp>Like most kids, Maya and Anna want to fit in and have newly developed sexual urges. But they are also still, undeniably, 13-year-olds—13-year-olds who seem very cognizant, perhaps for the first time in their short lives, of the passage of time and how it is changing them. At the end of “Vendy Wiccany,” the girls break down over the realization that life isn’t as simple as it once was. As Maya embraces a crying Anna and tells her that she loves her, the bond between them is visceral; \u003cem>PEN15\u003c/em>‘s unique ability to tap into the many gradients of puberty is palpable.\u003c/p>\n\u003cp>In 1999, when she was just 17, Britney Spears was featured in an \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\" target=\"_blank\" rel=\"noopener noreferrer\">infamous \u003cem>Rolling Stone\u003c/em> cover shoot\u003c/a>, cradling a stuffed purple Teletubby toy in one arm while posed against a pink satin backdrop in lingerie. It succinctly encapsulated the blurry, polarizing line she often straddled between bubbly, youthful innocence and teen sex symbol at the time. I remember being around the same age as Maya and Anna are when that cover came out, and aware of the handwringing it caused over how it might influence young girls like myself. Much of the public didn’t know what to make of this dichotomy (and still doesn’t, judging by the faux outrage aimed at \u003cem>Cuties\u003c/em> earlier this month). It’s not surprising that Britney would go on to record “I’m Not a Girl, Not Yet a Woman,” a song utterly transparent in its attempt to acknowledge the mixed reactions to her image as a child star.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>PEN15 \u003c/em>is the weirder, funnier and completely un-sexy spiritual companion to Britney cradling that Teletubby, and the more soulful counterpart to “Not a Girl.” It works because, amidst the delightful crudeness and silliness, its creators show a clear compassion for their younger selves, a compassion that is too often not extended to the Mayas, Annas or Britneys of the world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27PEN15%27+Is+Back%2C+And+Girlhood+Is+Still+Painfully+Awkward+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "U.S. To Ban New Downloads Of TikTok, WeChat",
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"content": "\u003cp>\u003cstrong>Updated 10:41 a.m. ET Friday \u003c/strong>\u003c/p>\n\u003cp>The Trump administration is banning Americans from downloading popular video-sharing app TikTok and limiting the use of WeChat because of national security concerns, the Commerce Department announced on Friday. \u003c/p>\n\u003cp>As of Sunday, TikTok will not be able to receive system updates, which could affect its functionality, including slowing down the app, but the app’s current version will still work for American users.\u003c/p>\n\u003cp>Talks are still underway among parties including software company Oracle and Walmart to come up with a plan to rescue TikTok, which has more than 100 million users in the U.S. and 700 million globally. \u003c/p>\n\u003cp>Parties have until Nov. 12 to finalize a deal or the administration will fully ban TikTok, White House officials said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The federal action will also limit the use of WeChat for transferring money or conducting payments inside the U.S\u003c/p>\n\u003cp>Commerce Secretary Wilbur Ross said in a \u003ca href=\"https://www.commerce.gov/news/press-releases/2020/09/commerce-department-prohibits-wechat-and-tiktok-transactions-protect\">statement\u003c/a> that the restrictions on TikTok — which arose from President Trump’s executive order issued last month targeting the app — will take effect on Sunday.\u003c/p>\n\u003cp>“Today’s actions prove once again that President Trump will do everything in his power to guarantee our national security and protect Americans from the threats of the Chinese Communist Party,” Ross said in a statement. \u003c/p>\n\u003cp>TikTok, in a statement, called the Trump administration’s action “unjust” and vowed to keep to fighting the order in federal court.\u003c/p>\n\u003cp>“In our proposal to the US Administration, we’ve already committed to unprecedented levels of additional transparency and accountability well beyond what other apps are willing to do, including third-party audits, verification of code security, and US government oversight of US data security,” a TikTok spokesperson said. “Further, an American technology provider would be responsible for maintaining and operating the TikTok network in the US, which would include all services and data serving US consumers.”\u003c/p>\n\u003cp>Kirsten Martin, professor of technology ethics at the University of Notre Dame, said the Trump administration’s enforcement action will not do much to address any national security concerns White House officials have with the Beijing-owned TikTok. \u003c/p>\n\u003cp>“TikTok was never a national security risk. In many ways, an app like TikTok is better than most apps in that they don’t sell user data to third parties. That actually may end when Oracle gets involved given their work in digital marketing,” Martin said. \u003c/p>\n\u003cp>Also starting Sunday, it will become illegal to provide Internet hosting and other network services for WeChat.\u003c/p>\n\u003cp>TikTok is owned by ByteDance. WeChat, a messaging and social media app that also lets users conduct payments, is owned by Tencent. \u003c/p>\n\u003cp>Under TikTok’s terms of service, user data can be shared with ByteDance. That has made officials in Washington worry about the possibility of China gaining access to U.S. user data. The amount of data TikTok collects on Americans is on par with what other apps collect, including ones owned by Facebook and Google. \u003c/p>\n\u003cp>Trump has insisted that ByteDance must lose its majority stake in TikTok, triggering a flurry of activity from U.S. companies interested in acquiring or partnering with the video-sharing service. \u003c/p>\n\u003cp>Oracle beat out Microsoft as the top U.S. suitor. The current proposal on the table from Oracle would give it a majority stake in TikTok, but ByteDance would retain a significant minority stake and also maintain a strong position on the company’s board. It is not clear whether Trump will support the deal. \u003c/p>\n\u003cp>Oracle has ties to Trump. Larry Ellison, a top Oracle executive, is one of the few tech leaders in Silicon Valley who support the president. He held a fundraiser for Trump in February. \u003c/p>\n\u003cp>TikTok’s 1,500 employees \u003ca href=\"https://www.npr.org/2020/08/29/907316522/tiktok-workers-feel-anxiety-anger-and-rage-amid-trump-crackdown\">were worried \u003c/a>Trump clamping down on the app would deprive them of their wages, but the administration recently clarified in a court filing that TikTok workers, and anyone working for a subsidiary of ByteDance, will not be affected by the August executive order.\u003c/p>\n\u003cp>TikTok is \u003ca href=\"https://www.npr.org/2020/08/24/901776584/tiktok-sues-trump-to-block-u-s-ban\">challenging\u003c/a> the order in federal court, arguing it deprives the company of due process.\u003c/p>\n\u003cp>Vanessa Pappas, TikTok’s interim global chief, said Trump’s ban will be bad for the tech industry. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We invite Facebook and Instagram to publicly join our challenge and support our litigation,” Pappas \u003ca href=\"https://twitter.com/v_ness/status/1306956276761415681\">wrote on Twitter\u003c/a>. “This is a moment to put aside our competition and focus on core principles like freedom of expression and due process of law.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated 10:41 a.m. ET Friday \u003c/strong>\u003c/p>\n\u003cp>The Trump administration is banning Americans from downloading popular video-sharing app TikTok and limiting the use of WeChat because of national security concerns, the Commerce Department announced on Friday. \u003c/p>\n\u003cp>As of Sunday, TikTok will not be able to receive system updates, which could affect its functionality, including slowing down the app, but the app’s current version will still work for American users.\u003c/p>\n\u003cp>Talks are still underway among parties including software company Oracle and Walmart to come up with a plan to rescue TikTok, which has more than 100 million users in the U.S. and 700 million globally. \u003c/p>\n\u003cp>Parties have until Nov. 12 to finalize a deal or the administration will fully ban TikTok, White House officials said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The federal action will also limit the use of WeChat for transferring money or conducting payments inside the U.S\u003c/p>\n\u003cp>Commerce Secretary Wilbur Ross said in a \u003ca href=\"https://www.commerce.gov/news/press-releases/2020/09/commerce-department-prohibits-wechat-and-tiktok-transactions-protect\">statement\u003c/a> that the restrictions on TikTok — which arose from President Trump’s executive order issued last month targeting the app — will take effect on Sunday.\u003c/p>\n\u003cp>“Today’s actions prove once again that President Trump will do everything in his power to guarantee our national security and protect Americans from the threats of the Chinese Communist Party,” Ross said in a statement. \u003c/p>\n\u003cp>TikTok, in a statement, called the Trump administration’s action “unjust” and vowed to keep to fighting the order in federal court.\u003c/p>\n\u003cp>“In our proposal to the US Administration, we’ve already committed to unprecedented levels of additional transparency and accountability well beyond what other apps are willing to do, including third-party audits, verification of code security, and US government oversight of US data security,” a TikTok spokesperson said. “Further, an American technology provider would be responsible for maintaining and operating the TikTok network in the US, which would include all services and data serving US consumers.”\u003c/p>\n\u003cp>Kirsten Martin, professor of technology ethics at the University of Notre Dame, said the Trump administration’s enforcement action will not do much to address any national security concerns White House officials have with the Beijing-owned TikTok. \u003c/p>\n\u003cp>“TikTok was never a national security risk. In many ways, an app like TikTok is better than most apps in that they don’t sell user data to third parties. That actually may end when Oracle gets involved given their work in digital marketing,” Martin said. \u003c/p>\n\u003cp>Also starting Sunday, it will become illegal to provide Internet hosting and other network services for WeChat.\u003c/p>\n\u003cp>TikTok is owned by ByteDance. WeChat, a messaging and social media app that also lets users conduct payments, is owned by Tencent. \u003c/p>\n\u003cp>Under TikTok’s terms of service, user data can be shared with ByteDance. That has made officials in Washington worry about the possibility of China gaining access to U.S. user data. The amount of data TikTok collects on Americans is on par with what other apps collect, including ones owned by Facebook and Google. \u003c/p>\n\u003cp>Trump has insisted that ByteDance must lose its majority stake in TikTok, triggering a flurry of activity from U.S. companies interested in acquiring or partnering with the video-sharing service. \u003c/p>\n\u003cp>Oracle beat out Microsoft as the top U.S. suitor. The current proposal on the table from Oracle would give it a majority stake in TikTok, but ByteDance would retain a significant minority stake and also maintain a strong position on the company’s board. It is not clear whether Trump will support the deal. \u003c/p>\n\u003cp>Oracle has ties to Trump. Larry Ellison, a top Oracle executive, is one of the few tech leaders in Silicon Valley who support the president. He held a fundraiser for Trump in February. \u003c/p>\n\u003cp>TikTok’s 1,500 employees \u003ca href=\"https://www.npr.org/2020/08/29/907316522/tiktok-workers-feel-anxiety-anger-and-rage-amid-trump-crackdown\">were worried \u003c/a>Trump clamping down on the app would deprive them of their wages, but the administration recently clarified in a court filing that TikTok workers, and anyone working for a subsidiary of ByteDance, will not be affected by the August executive order.\u003c/p>\n\u003cp>TikTok is \u003ca href=\"https://www.npr.org/2020/08/24/901776584/tiktok-sues-trump-to-block-u-s-ban\">challenging\u003c/a> the order in federal court, arguing it deprives the company of due process.\u003c/p>\n\u003cp>Vanessa Pappas, TikTok’s interim global chief, said Trump’s ban will be bad for the tech industry. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We invite Facebook and Instagram to publicly join our challenge and support our litigation,” Pappas \u003ca href=\"https://twitter.com/v_ness/status/1306956276761415681\">wrote on Twitter\u003c/a>. “This is a moment to put aside our competition and focus on core principles like freedom of expression and due process of law.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+To+Bar+Downloads+Of+TikTok%2C+WeChat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
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