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"content": "\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98",
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"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \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=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\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/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \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=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new visual album written, directed and executive produced by Beyoncé is on its way.\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> will celebrate Black resilience and culture, and premiere globally on Disney+ on July 31, according to a \u003ca href=\"https://dtcimedia.disney.com/news/black-is-king-july-31\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>. The album is based on the music of \u003cem>The Lion King: The Gift\u003c/em>, the Beyoncé-curated soundtrack album for the \u003cem>Lion King\u003c/em> animated remake released last July, in which she voiced the character of Nala.\u003c/p>\n\u003cp>“The visual album from Beyoncé reimagines the lessons of \u003cem>The Lion King\u003c/em> for today’s young kings and queens in search of their own crowns,” reads the statement from Disney and from Beyoncé’s company, Parkwood Entertainment.\u003c/p>\n\u003cp>The film, which was in production for one year, will star the album’s featured artists as well as special guest appearances. A minute-long \u003ca href=\"https://beyonce.com/\" target=\"_blank\" rel=\"noopener noreferrer\">teaser video\u003c/a> is available on Beyoncé’s website.\u003c/p>\n\u003cp>The press release says the album honors the voyages of Black families throughout time, and tells the story of a young king’s journey through betrayal, love and self-identity. Guided by his ancestors, father and childhood love, he earns the virtues needed to reclaim his “home and throne.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These timeless lessons are revealed and reflected through Black voices of today, now sitting in their own power,” it reads. \u003cem>Black Is King \u003c/em>“is an affirmation of a grand purpose, with lush visuals that celebrate Black resilience and culture. The film highlights the beauty of tradition and Black excellence.”\u003c/p>\n\u003cp>The announcement comes on the heels of Beyoncé’s latest surprise, a single called \u003ca href=\"https://www.npr.org/2020/06/20/881215617/beyonce-releases-new-song-black-parade-in-the-final-hours-of-juneteenth\" target=\"_blank\" rel=\"noopener noreferrer\">“Black Parade”\u003c/a> that she released on Juneteenth. She announced \u003ca href=\"https://www.beyonce.com/black-parade-route/?q=&page=1&category=all\" target=\"_blank\" rel=\"noopener noreferrer\">on her website\u003c/a> that proceeds from the song will benefit Black-owned small businesses in need through her BeyGOOD initiative.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Black excellence is a form of protest,” the post said. “Black joy is your right.”\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=Beyonc%C3%A9+To+Drop+Visual+Album%2C+%27Black+Is+King%2C%27+On+Disney%2B+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new visual album written, directed and executive produced by Beyoncé is on its way.\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> will celebrate Black resilience and culture, and premiere globally on Disney+ on July 31, according to a \u003ca href=\"https://dtcimedia.disney.com/news/black-is-king-july-31\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>. The album is based on the music of \u003cem>The Lion King: The Gift\u003c/em>, the Beyoncé-curated soundtrack album for the \u003cem>Lion King\u003c/em> animated remake released last July, in which she voiced the character of Nala.\u003c/p>\n\u003cp>“The visual album from Beyoncé reimagines the lessons of \u003cem>The Lion King\u003c/em> for today’s young kings and queens in search of their own crowns,” reads the statement from Disney and from Beyoncé’s company, Parkwood Entertainment.\u003c/p>\n\u003cp>The film, which was in production for one year, will star the album’s featured artists as well as special guest appearances. A minute-long \u003ca href=\"https://beyonce.com/\" target=\"_blank\" rel=\"noopener noreferrer\">teaser video\u003c/a> is available on Beyoncé’s website.\u003c/p>\n\u003cp>The press release says the album honors the voyages of Black families throughout time, and tells the story of a young king’s journey through betrayal, love and self-identity. Guided by his ancestors, father and childhood love, he earns the virtues needed to reclaim his “home and throne.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tu1ZpF0bzMg\u003c/p>\n\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpzEIrtBzTM\u003c/p>\n\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\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=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\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/Tu1ZpF0bzMg'\n title='//www.youtube.com/embed/Tu1ZpF0bzMg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\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/xpzEIrtBzTM'\n title='//www.youtube.com/embed/xpzEIrtBzTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\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=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Search Party' Season 3: Jerks Brought to Justice",
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"content": "\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Gone With The Wind' Returns to HBO Max With New Introduction",
"headTitle": "‘Gone With The Wind’ Returns to HBO Max With New Introduction | KQED",
"content": "\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” [aside postid='arts_13881748']\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\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=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\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=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "America’s Favorite Beauty Brands are Still Pushing Skin Lightening Overseas",
"headTitle": "America’s Favorite Beauty Brands are Still Pushing Skin Lightening Overseas | KQED",
"content": "\u003cp>Last weekend, Johnson & Johnson announced it would no longer sell skin-lightening products. The company will be axing Neutrogena’s Fine Fairness line and Clean & Clear’s Clear Fairness creams in Asia, the Middle East and India. “Some product names or claims on our dark spot reducer products represent fairness or white as better than your own unique skin tone,” the company said in \u003ca href=\"https://www.reuters.com/article/us-johnson-johnson-whitening/johnson-johnson-drops-skin-whitening-creams-idUSKBN23Q2BZ\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a>. “This was never our intention—healthy skin is beautiful skin.”\u003c/p>\n\u003cp>Johnson & Johnson’s commitment to discontinuing these products sets a much-needed precedent for the beauty industry. It comes just weeks after social media users called out Indian celebrities who had created social media posts in support of Black Lives Matter, but also previously endorsed skin-lightening creams. The actresses included \u003ca href=\"https://twitter.com/maXes_MB/status/1268311171691503617\" target=\"_blank\" rel=\"noopener noreferrer\">Priyanka Chopra\u003c/a>, \u003ca href=\"https://twitter.com/aluminiummaiden/status/1267060974810550272\" target=\"_blank\" rel=\"noopener noreferrer\">Sonam Kapoor\u003c/a>, \u003ca href=\"https://twitter.com/Man_isssh/status/1266963455736786945\" target=\"_blank\" rel=\"noopener noreferrer\">Disha Patani\u003c/a> and \u003ca href=\"https://twitter.com/DoctorLFC/status/1267902864606875655\" target=\"_blank\" rel=\"noopener noreferrer\">Kiara Advani\u003c/a>. All of them were advertising the creams of brands that are household names in America—L’Oréal, Ponds and Garnier.\u003c/p>\n\u003cp>Nivea—a company that came under fire in 2017 for a British ad campaign that featured the phrase “\u003ca href=\"https://www.nytimes.com/2017/04/04/business/media/nivea-ad-online-uproar-racism.html\" target=\"_blank\" rel=\"noopener noreferrer\">White is purity\u003c/a>”—is also a major player when it comes to \u003ca href=\"https://www.amazon.com/Nivea-Extra-Whitening-Lotion-200ml/dp/B00HRSRG9G\" target=\"_blank\" rel=\"noopener noreferrer\">skin-lightening products\u003c/a>. As is Unilever, the parent company of Dove—a brand known for pushing a message of inclusivity in the United States.\u003c/p>\n\u003cp>[aside postid='pop_102572']Unilever has been historically unrepentant about its Fair & Lovely brand and the accompanying marketing campaigns that have often equated romantic and professional success with lighter skin. In 2017, \u003ca href=\"https://www.buzzfeednews.com/article/scaachikoul/doves-gaffe-is-part-of-a-history-of-racist-beauty-marketing\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> from Unilever defended its stance by saying: “Even-toned and lighter skin remains the most sought-after beauty desire across Asia and parts of Africa and Latin America.” Fair & Lovely remains one of the most commonly available skin-lightening brands in the United States.\u003c/p>\n\u003cp>In the last few weeks, some of these same companies have paid lip service to America’s racial justice movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/garnierUSA/status/1267815470192668672\u003c/p>\n\u003cp>https://www.instagram.com/p/CA_Ph89HIWn/\u003c/p>\n\u003cp>https://twitter.com/LOrealParisUSA/status/1267449907880824832\u003c/p>\n\u003cp>(That last post from L’Oréal prompted a response from \u003ca href=\"https://twitter.com/MunroeBergdorf/status/1267460238678069249\" target=\"_blank\" rel=\"noopener noreferrer\">model Munroe Bergdorf\u003c/a> who claimed that in 2017, the company “dropped me from a campaign and threw me to the wolves for speaking out about racism and white supremacy.”)\u003c/p>\n\u003cp>For the beauty industry, promoting and selling lighter skin tones is a multi-billion dollar business—specifically, $8.3 billion in 2018. In 2009, Indian consumers alone spent $432 million in pursuit of lighter skin. And while America does not see the types of mainstream marketing used in other parts of the world, these kinds of products aren’t hard to find in local pharmacies and beauty shops. What’s more, the internet has made available a mind-boggling array of skin-lightening products.\u003c/p>\n\u003cp>A quick Google search sent me almost immediately to an Amazon page unabashedly titled “Skin Bleaching.” And while many of the items on the page are dressed up as dark spot correctors, scar reducers or “brightening” products, there are numerous other creams, serums and supplements that are more brazen about their raison d’être.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13882343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/whitening-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While some products are undoubtedly safer than others, America has known for decades that skin-lightening products can be dangerous. In 2010, the \u003ca href=\"https://www.nytimes.com/2010/01/16/health/16skin.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> reported\u003c/a> that: “Dermatologists nationwide are seeing women of Hispanic and African descent, among others, with severe side effects … from the misuse of skin-lightening creams, many with prescription-strength ingredients,” including steroids.\u003c/p>\n\u003cp>In that same article, one dermatologist, Dr. Eliot F. Battle Jr, stated: “It’s happening more because the internet has been a great source for these patients to get physician-strength or prescription-strength products.”\u003c/p>\n\u003cp>The fight against skin-lightening products has already started in other countries. In 2015, they were \u003ca href=\"https://www.theguardian.com/world/2015/may/07/ivory-coast-bans-potentially-deadly-skin-whitening-creams\" target=\"_blank\" rel=\"noopener noreferrer\">banned\u003c/a> on the Ivory Coast. In 2019, they were banned in Ghana, Rwanda, South Africa and Sudan. However, despite a Europe-wide ban on skin-lightening products containing dangerous ingredients (such as hydroquinone and mercury), consumers there are still seeking them out.\u003c/p>\n\u003cp>[aside postid='arts_13881748']Last year, Britain’s Local Government Association issued \u003ca href=\"https://www.bbc.com/news/health-49851669\" target=\"_blank\" rel=\"noopener noreferrer\">a warning\u003c/a> after seizing thousands of illegal skin-lightening products. Calling hydroquinone “the biological equivalent of paint stripper,” an LGA representative said: “Skin creams containing banned ingredients are very dangerous and could seriously damage your health, scar you for life and even kill you, so they should be avoided at all costs.”\u003c/p>\n\u003cp>While larger companies have the means to more rigorously test their products before they hit the shelves, the social implications of all skin-lightening brands are the same across the board. Not only do they have roots in colonial ideals around beauty and status, Hasan Minaj also recently highlighted the link between such products and racism towards the Black community.\u003c/p>\n\u003cp>In an impassioned \u003ca href=\"https://www.youtube.com/watch?v=i_FE78X-qdY\" target=\"_blank\" rel=\"noopener noreferrer\">June 3 monologue\u003c/a>, speaking specifically of the South Asian community, Minaj said:\u003c/p>\n\u003cblockquote>\u003cp>We love Black America on screen, in our living rooms. But if a Black man walks into your living room, or wants to date—God forbid, marry—your daughter? You’d call the cops! Do you know what we call Black people? We call them ‘Kala.’ It means black—not in a good way. If someone in your family is dark skinned, we clown them. We call them ‘Kallu.’ Our Bollywood stars do skin whitening commercials, so we don’t look Black. It is bad to be Black in Desi culture, even though we all wish we were Black. You don’t think that affects how we view Black people?\u003c/p>\u003c/blockquote>\n\u003cp>There are signs that skin-lightening fatigue amongst consumers is on the rise. Just this week, \u003ca href=\"https://www.shaadi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shaadi\u003c/a>—a dating site popular with the Indian diaspora—\u003ca href=\"https://www.bbc.com/news/newsbeat-53146969?fbclid=IwAR3KTDTrBaO04-EwxzPaTgRR2TRHbhUyPJ9x_nCDt0e9eCq1RHP_r8iXlbs\" target=\"_blank\" rel=\"noopener noreferrer\">removed a feature\u003c/a> that asked its users to specify the lightness of their skin tone, using descriptors including ‘Fair,’ ‘Wheatish,’ and ‘Dark.’ The decision was made just two weeks after a \u003ca href=\"https://www.change.org/p/shaadi-com-remove-the-colour-filter-from-matrimonial-website?recruiter=1114601771&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition\" target=\"_blank\" rel=\"noopener noreferrer\">petition\u003c/a> was set up, demanding the change.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At this moment of trying to exact systemic change at the highest levels, worrying about what the cosmetics industry is doing can seem somewhat inconsequential. But while \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">statues\u003c/a> are being torn down, \u003ca href=\"https://www.kqed.org/arts/13881748/what-should-we-do-with-old-racist-movies-on-streaming-platforms\" target=\"_blank\" rel=\"noopener noreferrer\">old movies\u003c/a> are being reevaluated and \u003ca href=\"https://www.cnn.com/2020/06/23/entertainment/30-rock-episodes-blackface-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">TV shows are being revised\u003c/a>, it would serve American consumers to understand just which companies continue to profit from, and push, beauty ideals that center white supremacy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last weekend, Johnson & Johnson announced it would no longer sell skin-lightening products. The company will be axing Neutrogena’s Fine Fairness line and Clean & Clear’s Clear Fairness creams in Asia, the Middle East and India. “Some product names or claims on our dark spot reducer products represent fairness or white as better than your own unique skin tone,” the company said in \u003ca href=\"https://www.reuters.com/article/us-johnson-johnson-whitening/johnson-johnson-drops-skin-whitening-creams-idUSKBN23Q2BZ\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a>. “This was never our intention—healthy skin is beautiful skin.”\u003c/p>\n\u003cp>Johnson & Johnson’s commitment to discontinuing these products sets a much-needed precedent for the beauty industry. It comes just weeks after social media users called out Indian celebrities who had created social media posts in support of Black Lives Matter, but also previously endorsed skin-lightening creams. The actresses included \u003ca href=\"https://twitter.com/maXes_MB/status/1268311171691503617\" target=\"_blank\" rel=\"noopener noreferrer\">Priyanka Chopra\u003c/a>, \u003ca href=\"https://twitter.com/aluminiummaiden/status/1267060974810550272\" target=\"_blank\" rel=\"noopener noreferrer\">Sonam Kapoor\u003c/a>, \u003ca href=\"https://twitter.com/Man_isssh/status/1266963455736786945\" target=\"_blank\" rel=\"noopener noreferrer\">Disha Patani\u003c/a> and \u003ca href=\"https://twitter.com/DoctorLFC/status/1267902864606875655\" target=\"_blank\" rel=\"noopener noreferrer\">Kiara Advani\u003c/a>. All of them were advertising the creams of brands that are household names in America—L’Oréal, Ponds and Garnier.\u003c/p>\n\u003cp>Nivea—a company that came under fire in 2017 for a British ad campaign that featured the phrase “\u003ca href=\"https://www.nytimes.com/2017/04/04/business/media/nivea-ad-online-uproar-racism.html\" target=\"_blank\" rel=\"noopener noreferrer\">White is purity\u003c/a>”—is also a major player when it comes to \u003ca href=\"https://www.amazon.com/Nivea-Extra-Whitening-Lotion-200ml/dp/B00HRSRG9G\" target=\"_blank\" rel=\"noopener noreferrer\">skin-lightening products\u003c/a>. As is Unilever, the parent company of Dove—a brand known for pushing a message of inclusivity in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(That last post from L’Oréal prompted a response from \u003ca href=\"https://twitter.com/MunroeBergdorf/status/1267460238678069249\" target=\"_blank\" rel=\"noopener noreferrer\">model Munroe Bergdorf\u003c/a> who claimed that in 2017, the company “dropped me from a campaign and threw me to the wolves for speaking out about racism and white supremacy.”)\u003c/p>\n\u003cp>For the beauty industry, promoting and selling lighter skin tones is a multi-billion dollar business—specifically, $8.3 billion in 2018. In 2009, Indian consumers alone spent $432 million in pursuit of lighter skin. And while America does not see the types of mainstream marketing used in other parts of the world, these kinds of products aren’t hard to find in local pharmacies and beauty shops. What’s more, the internet has made available a mind-boggling array of skin-lightening products.\u003c/p>\n\u003cp>A quick Google search sent me almost immediately to an Amazon page unabashedly titled “Skin Bleaching.” And while many of the items on the page are dressed up as dark spot correctors, scar reducers or “brightening” products, there are numerous other creams, serums and supplements that are more brazen about their raison d’être.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13882343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/whitening-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/whitening-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While some products are undoubtedly safer than others, America has known for decades that skin-lightening products can be dangerous. In 2010, the \u003ca href=\"https://www.nytimes.com/2010/01/16/health/16skin.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> reported\u003c/a> that: “Dermatologists nationwide are seeing women of Hispanic and African descent, among others, with severe side effects … from the misuse of skin-lightening creams, many with prescription-strength ingredients,” including steroids.\u003c/p>\n\u003cp>In that same article, one dermatologist, Dr. Eliot F. Battle Jr, stated: “It’s happening more because the internet has been a great source for these patients to get physician-strength or prescription-strength products.”\u003c/p>\n\u003cp>The fight against skin-lightening products has already started in other countries. In 2015, they were \u003ca href=\"https://www.theguardian.com/world/2015/may/07/ivory-coast-bans-potentially-deadly-skin-whitening-creams\" target=\"_blank\" rel=\"noopener noreferrer\">banned\u003c/a> on the Ivory Coast. In 2019, they were banned in Ghana, Rwanda, South Africa and Sudan. However, despite a Europe-wide ban on skin-lightening products containing dangerous ingredients (such as hydroquinone and mercury), consumers there are still seeking them out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, Britain’s Local Government Association issued \u003ca href=\"https://www.bbc.com/news/health-49851669\" target=\"_blank\" rel=\"noopener noreferrer\">a warning\u003c/a> after seizing thousands of illegal skin-lightening products. Calling hydroquinone “the biological equivalent of paint stripper,” an LGA representative said: “Skin creams containing banned ingredients are very dangerous and could seriously damage your health, scar you for life and even kill you, so they should be avoided at all costs.”\u003c/p>\n\u003cp>While larger companies have the means to more rigorously test their products before they hit the shelves, the social implications of all skin-lightening brands are the same across the board. Not only do they have roots in colonial ideals around beauty and status, Hasan Minaj also recently highlighted the link between such products and racism towards the Black community.\u003c/p>\n\u003cp>In an impassioned \u003ca href=\"https://www.youtube.com/watch?v=i_FE78X-qdY\" target=\"_blank\" rel=\"noopener noreferrer\">June 3 monologue\u003c/a>, speaking specifically of the South Asian community, Minaj said:\u003c/p>\n\u003cblockquote>\u003cp>We love Black America on screen, in our living rooms. But if a Black man walks into your living room, or wants to date—God forbid, marry—your daughter? You’d call the cops! Do you know what we call Black people? We call them ‘Kala.’ It means black—not in a good way. If someone in your family is dark skinned, we clown them. We call them ‘Kallu.’ Our Bollywood stars do skin whitening commercials, so we don’t look Black. It is bad to be Black in Desi culture, even though we all wish we were Black. You don’t think that affects how we view Black people?\u003c/p>\u003c/blockquote>\n\u003cp>There are signs that skin-lightening fatigue amongst consumers is on the rise. Just this week, \u003ca href=\"https://www.shaadi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shaadi\u003c/a>—a dating site popular with the Indian diaspora—\u003ca href=\"https://www.bbc.com/news/newsbeat-53146969?fbclid=IwAR3KTDTrBaO04-EwxzPaTgRR2TRHbhUyPJ9x_nCDt0e9eCq1RHP_r8iXlbs\" target=\"_blank\" rel=\"noopener noreferrer\">removed a feature\u003c/a> that asked its users to specify the lightness of their skin tone, using descriptors including ‘Fair,’ ‘Wheatish,’ and ‘Dark.’ The decision was made just two weeks after a \u003ca href=\"https://www.change.org/p/shaadi-com-remove-the-colour-filter-from-matrimonial-website?recruiter=1114601771&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition\" target=\"_blank\" rel=\"noopener noreferrer\">petition\u003c/a> was set up, demanding the change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this moment of trying to exact systemic change at the highest levels, worrying about what the cosmetics industry is doing can seem somewhat inconsequential. But while \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">statues\u003c/a> are being torn down, \u003ca href=\"https://www.kqed.org/arts/13881748/what-should-we-do-with-old-racist-movies-on-streaming-platforms\" target=\"_blank\" rel=\"noopener noreferrer\">old movies\u003c/a> are being reevaluated and \u003ca href=\"https://www.cnn.com/2020/06/23/entertainment/30-rock-episodes-blackface-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">TV shows are being revised\u003c/a>, it would serve American consumers to understand just which companies continue to profit from, and push, beauty ideals that center white supremacy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "K-Pop's Digital 'Army' Musters to Meet the Moment, Baggage in Tow",
"headTitle": "K-Pop’s Digital ‘Army’ Musters to Meet the Moment, Baggage in Tow | KQED",
"content": "\u003cp>A week before Trump held his controversial campaign rally in Tulsa was when Viviana Dark, a K-pop fan from Wisconsin (who has requested pseudonymity over concerns of online harassment), first heard of plans to “sabotage” the event. Users on TikTok, the exceptionally popular social-video platform, were urging others to reserve tickets to the rally, with no intention of actually going. “You know how a TikTok Challenge happens? It was kind of like that. ‘Everybody go do this!’ And it spread like wildfire,” Dark, 19 years old, tells NPR Music.\u003c/p>\n\u003cp>She signed up for two seats, received a confirmation email from the Trump campaign—”I’m counting on my loyal supporters like you”—and never showed up to the rally, which drew just \u003ca href=\"https://www.npr.org/2020/06/20/881313605/trump-crowd-size-underwhelms-campaign-blames-protesters\" target=\"_blank\" rel=\"noopener noreferrer\">a few thousand\u003c/a> supporters to the 19,000-seat auditorium on June 20.\u003c/p>\n\u003cp>It’s \u003ca href=\"https://www.washingtonpost.com/technology/2020/06/21/tiktok-kpop-trump-tulsa-rally/\" target=\"_blank\" rel=\"noopener noreferrer\">not clear\u003c/a> how much TikTok teens and K-pop fans should be credited for the rally’s disappointing turnout; Trump’s campaign originally \u003ca href=\"https://www.theguardian.com/us-news/2020/jun/15/trump-tulsa-rally-coronavirus-calls-for-cancellation\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> it received more than a million requests for tickets. A stage prepared for overflow was \u003ca href=\"https://twitter.com/daveweigel/status/1274481380836114433\" target=\"_blank\" rel=\"noopener noreferrer\">never used\u003c/a>.\u003c/p>\n\u003cp>Dark, who supports the girl groups TWICE and GWSN, is no stranger to political activism in coordination with her K-pop community. She has a Twitter group chat with fellow idol fans from all over the world, where they exchange info about stars, petitions and hashtag movements. To “clog up” the platform, she tweeted #WhiteLivesMatter and #KeepAmericaGreat hashtags, coupled with irrelevant fancams of her favorite stars, as a way of diluting the usefulness and relevance of the tags.\u003c/p>\n\u003cp>“I’m Black before I’m a K-pop stan,” she says. “The main point of why we were fighting was for the Black Lives Matter cause, not to get recognized [as K-pop fans].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But getting recognized they are, as “\u003ca href=\"https://www.latimes.com/world-nation/story/2020-06-04/k-pop-fans-maestros-of-social-media-bring-their-powers-to-bear-on-blacklivesmatter-protests\" target=\"_blank\" rel=\"noopener noreferrer\">maestros of social media\u003c/a>,” “\u003ca href=\"https://time.com/5851211/kpop-bts-black-lives-matter-social-media/\" target=\"_blank\" rel=\"noopener noreferrer\">an unexpected ally\u003c/a>,” “\u003ca href=\"https://www.adobomagazine.com/digital-news/digital-dont-anger-the-k-pop-fans-k-pop-community-invades-racist-hashtags/\" target=\"_blank\" rel=\"noopener noreferrer\">unlikely heroes\u003c/a>.” Earlier this month, fans of BTS matched the boy band’s $1 million Black Lives Matter donation in roughly a day. Others are credited with flooding the iWatch Dallas app \u003ca href=\"https://www.insider.com/kpop-trump-tulsa-rally-hashtags-fancams-donations-activism-online-stan-2020-6#in-late-may-some-k-pop-fans-tried-to-stop-fandom-hashtags-from-trending-out-of-respect-for-blacklivesmatter-1\" target=\"_blank\" rel=\"noopener noreferrer\">with fancams\u003c/a> (and sinking its App Store \u003ca href=\"https://apps.apple.com/us/app/iwatch-dallas/id1482321757\" target=\"_blank\" rel=\"noopener noreferrer\">ranking\u003c/a>), after the Dallas police asked people to report “illegal activity” from the George Floyd and Black Lives Matter protests.\u003c/p>\n\u003cp>“I never thought I’d see the day where K-pop stans are defeating the police,” \u003ca href=\"https://twitter.com/blom_dot_com/status/1267252731959554050\" target=\"_blank\" rel=\"noopener noreferrer\">read\u003c/a> one tweet that received over 4,000 likes.\u003c/p>\n\u003cp>“Why is this so surprising? If you know the people in the K-pop fandom, this [political activism] seems natural,” says Lee Jeeheng, a cultural studies scholar and author of \u003ca href=\"https://www.amazon.com/BTS-ARMY-Culture-Lee-Jeeheng-ebook/dp/B083NJNNPR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>BTS and ARMY Culture\u003c/em>\u003c/a>, a book analyzing the fandom of the extremely popular group. “K-pop fandom is a digital tribe. Fans have been trained to mobilize quickly. They already have the infrastructure; when someone says, \u003cem>‘Go here!\u003c/em>‘ everybody can run towards the target.”\u003c/p>\n\u003cfigure id=\"attachment_13882460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg\" alt=\"K-pop fans in Central Park on May 15, 2019 in New York.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K-pop fans in Central Park on May 15, 2019 in New York. \u003ccite>(Drew Angerer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past, fans have \u003ca href=\"https://twitter.com/magic_breakfast/status/1222920159851094018\" target=\"_blank\" rel=\"noopener noreferrer\">donated to a London charity\u003c/a> to fund over 35,000 meals, reportedly \u003ca href=\"https://www.newsweek.com/chilean-government-blames-k-pop-recent-protests-1479151\" target=\"_blank\" rel=\"noopener noreferrer\">protested against\u003c/a> the Chilean government in 2019, \u003ca href=\"https://twitter.com/hyunsuinseoul/status/1268520597853581312\" target=\"_blank\" rel=\"noopener noreferrer\">raised awareness\u003c/a> about the need for safer roads in Bangladesh.\u003c/p>\n\u003cp>This activism, while not practiced by every K-pop fan, has a \u003ca href=\"https://www.koreaexpose.com/fascinating-world-k-pop-fandom-culture/\" target=\"_blank\" rel=\"noopener noreferrer\">long history\u003c/a>. In South Korea, organized music fandoms \u003ca href=\"https://www.reportshop.co.kr/social/102427\" target=\"_blank\" rel=\"noopener noreferrer\">began appearing\u003c/a> in the 1980s and ’90s. Fan philanthropy, now common in Korea beyond pop music, \u003ca href=\"https://www.newsen.com/news_view.php?uid=201812081756208010\" target=\"_blank\" rel=\"noopener noreferrer\">has its roots\u003c/a> in the early 2000s. Fans of the “first-generation” idol band Shinhwa, which debuted in 1998 and is still active, are credited with starting the “fan rice” trend in 2007, sending thousands of kilograms of rice to charity. Other fandoms \u003ca href=\"https://www.soompi.com/article/837751wpp/fans-donate-to-deaf-children-for-infinites-hoyas-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">have funded\u003c/a> cochlear implants for deaf children and more recently, \u003ca href=\"http://www.wowtv.co.kr/NewsCenter/News/Read?articleId=A202006110079&t=NN\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 efforts\u003c/a>.\u003c/p>\n\u003cp>Within and across different fandoms, political awareness is shared through loose online networks on Twitter, Instagram, fan cafes, etc.\u003c/p>\n\u003cp>Scholar Lee, a BTS fan, remembers one instance: In 2018, BTS member Jimin wore \u003ca href=\"https://www.bbc.com/news/world-asia-46147777\" target=\"_blank\" rel=\"noopener noreferrer\">a shirt\u003c/a> depicting the U.S atomic bombing of Japan, after which fans became embroiled in contentious debates about Western imperialism and Japan’s atrocities during WWII, including \u003ca href=\"https://www.npr.org/sections/parallels/2017/11/13/563838610/comfort-woman-memorial-statues-a-thorn-in-japans-side-now-sit-on-korean-buses\" target=\"_blank\" rel=\"noopener noreferrer\">sexually enslaving women\u003c/a> for its military. Multilingual fans furiously translated on Twitter, including Lee. “Fans from Southeast Asia started talking about their grandmothers who were sexually enslaved,” she recalls. “It was an incredible history lesson. It was a really moving experience. I witnessed diversity and minority representation in action.”\u003c/p>\n\u003cp>“Worldwide, K-pop is being consumed in the name of diversity politics,” \u003ca href=\"http://news.khan.co.kr/kh_news/khan_art_view.html?artid=202006082139025&code=960802#csidx183f27eda83c4abb96adce82d8be04b\" target=\"_blank\" rel=\"noopener noreferrer\">says \u003c/a>Mimyo, the editor-in-chief of \u003ca href=\"http://idology.kr/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Idology\u003c/em>\u003c/a>, an online magazine specializing in K-pop idol music. “Most K-pop fans are already interested in diversity politics; combine this with K-pop fandom’s culture of collective action. That’s why K-pop’s global fandom is participating actively in social movements like Black Lives Matter.”\u003c/p>\n\u003cp>“To be a non-Korean K-pop fan is innately political, I dunno why anyone is still surprised that K-pop fans are political,” \u003ca href=\"https://twitter.com/TamarWrites/status/1274531852829765632\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>Tamar Herman, a K-pop correspondent for \u003cem>Billboard\u003c/em>.\u003c/p>\n\u003cp>Herman and Mimyo’s comments are part of a growing media \u003ca href=\"https://www.washingtonpost.com/opinions/2020/06/11/surprised-seeing-k-pop-fans-stand-up-black-lives-matter-you-shouldnt-be/\" target=\"_blank\" rel=\"noopener noreferrer\">narrative\u003c/a> highlighting K-pop fans’ political progressiveness. But the reality is more complicated.\u003c/p>\n\u003cp>For one, there are plenty of fans like Dionne Saville, who don’t really engage in K-pop’s political activities. “K-pop is not at all an inherently political act for me. It’s just excellent music that crosses global boundaries. I enjoy the deeper cultural connection it brings,” Saville, a 47-year-old BTS fan in Yorkshire, U.K., tells NPR Music.\u003c/p>\n\u003cp>Then there are more sinister issues. Ironically for a music industry seen as heralding diversity politics, with millions of POC fans worldwide, K-pop creators still face constant accusations of \u003ca href=\"https://www.insider.com/kpop-stans-hashtags-fancams-whitelivesmatter-bts-matchamillion-army-donation-2020-6\" target=\"_blank\" rel=\"noopener noreferrer\">cultural appropriation\u003c/a> and racism, particularly against Black people.\u003c/p>\n\u003cp>For example, \u003ca href=\"https://popcrush.com/k-pop-scandals-international-blackface-racist/\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, though less common now, has brought plenty of A-list idols under fire. Artists also frequently stylize themselves after Black culture, and many cite Black music as a central influence.\u003c/p>\n\u003cp>“Traditionally, K-pop has not been a space that has validated Black feelings about those choices,” \u003ca href=\"https://www.teenvogue.com/story/k-pop-stars-speaking-up-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">writes\u003c/a> Natasha Mulenga for \u003cem>Teen Vogue\u003c/em>, “despite the impact Blackness has had on an industry that was reported at $5.4 billion … in 2018.”\u003c/p>\n\u003cp>Within the fandom, plenty of Black fans have voiced concerns about being \u003ca href=\"https://www.teenvogue.com/story/bts-fandom-needs-to-check-anti-blackness\" target=\"_blank\" rel=\"noopener noreferrer\">gaslit\u003c/a> by other fans when bringing up racism.\u003c/p>\n\u003cp>“It feels really hard to be a POC in K-pop,” says Dark. “When some fans try to talk about internal racism, or even cultural appropriation, it kind of gets pushed under the bed. People of color are shushed by other K-pop fans.”\u003c/p>\n\u003cp>That’s why, for Dark, some K-pop fans jumping in online to support the BLM movement feels hollow. “Some people’s gestures of ‘being an ally’ feels performative, like it’s just on a surface level.”\u003c/p>\n\u003cp>“Being a K-pop fan causes me lots of drama and issues mentally, because of the racism. But I feel it’s almost worth it to have that connection to the world, to music, to all these different ideas. K-pop helps me learn about the world.”\u003c/p>\n\u003cp>Meanwhile, many \u003ca href=\"https://abcnews.go.com/International/pop-stars-part-black-lives-matter-movement/story?id=71131938\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop artists have spoken out\u003c/a> on Black Lives Matter—a rare sight, since unlike many of their fans, most artists refrain from making political statements in public.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.twitter.com/Haekoko\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haeryun Kang\u003c/em>\u003c/a>\u003cem> is a freelance journalist based in Seoul and the creative director of \u003c/em>\u003ca href=\"https://twitter.com/videocusIN\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>videocusIN\u003c/em>\u003c/a>\u003cem>, a media incubator.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=K-Pop%27s+Digital+%27Army%27+Musters+To+Meet+The+Moment%2C+Baggage+In+Tow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A week before Trump held his controversial campaign rally in Tulsa was when Viviana Dark, a K-pop fan from Wisconsin (who has requested pseudonymity over concerns of online harassment), first heard of plans to “sabotage” the event. Users on TikTok, the exceptionally popular social-video platform, were urging others to reserve tickets to the rally, with no intention of actually going. “You know how a TikTok Challenge happens? It was kind of like that. ‘Everybody go do this!’ And it spread like wildfire,” Dark, 19 years old, tells NPR Music.\u003c/p>\n\u003cp>She signed up for two seats, received a confirmation email from the Trump campaign—”I’m counting on my loyal supporters like you”—and never showed up to the rally, which drew just \u003ca href=\"https://www.npr.org/2020/06/20/881313605/trump-crowd-size-underwhelms-campaign-blames-protesters\" target=\"_blank\" rel=\"noopener noreferrer\">a few thousand\u003c/a> supporters to the 19,000-seat auditorium on June 20.\u003c/p>\n\u003cp>It’s \u003ca href=\"https://www.washingtonpost.com/technology/2020/06/21/tiktok-kpop-trump-tulsa-rally/\" target=\"_blank\" rel=\"noopener noreferrer\">not clear\u003c/a> how much TikTok teens and K-pop fans should be credited for the rally’s disappointing turnout; Trump’s campaign originally \u003ca href=\"https://www.theguardian.com/us-news/2020/jun/15/trump-tulsa-rally-coronavirus-calls-for-cancellation\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> it received more than a million requests for tickets. A stage prepared for overflow was \u003ca href=\"https://twitter.com/daveweigel/status/1274481380836114433\" target=\"_blank\" rel=\"noopener noreferrer\">never used\u003c/a>.\u003c/p>\n\u003cp>Dark, who supports the girl groups TWICE and GWSN, is no stranger to political activism in coordination with her K-pop community. She has a Twitter group chat with fellow idol fans from all over the world, where they exchange info about stars, petitions and hashtag movements. To “clog up” the platform, she tweeted #WhiteLivesMatter and #KeepAmericaGreat hashtags, coupled with irrelevant fancams of her favorite stars, as a way of diluting the usefulness and relevance of the tags.\u003c/p>\n\u003cp>“I’m Black before I’m a K-pop stan,” she says. “The main point of why we were fighting was for the Black Lives Matter cause, not to get recognized [as K-pop fans].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But getting recognized they are, as “\u003ca href=\"https://www.latimes.com/world-nation/story/2020-06-04/k-pop-fans-maestros-of-social-media-bring-their-powers-to-bear-on-blacklivesmatter-protests\" target=\"_blank\" rel=\"noopener noreferrer\">maestros of social media\u003c/a>,” “\u003ca href=\"https://time.com/5851211/kpop-bts-black-lives-matter-social-media/\" target=\"_blank\" rel=\"noopener noreferrer\">an unexpected ally\u003c/a>,” “\u003ca href=\"https://www.adobomagazine.com/digital-news/digital-dont-anger-the-k-pop-fans-k-pop-community-invades-racist-hashtags/\" target=\"_blank\" rel=\"noopener noreferrer\">unlikely heroes\u003c/a>.” Earlier this month, fans of BTS matched the boy band’s $1 million Black Lives Matter donation in roughly a day. Others are credited with flooding the iWatch Dallas app \u003ca href=\"https://www.insider.com/kpop-trump-tulsa-rally-hashtags-fancams-donations-activism-online-stan-2020-6#in-late-may-some-k-pop-fans-tried-to-stop-fandom-hashtags-from-trending-out-of-respect-for-blacklivesmatter-1\" target=\"_blank\" rel=\"noopener noreferrer\">with fancams\u003c/a> (and sinking its App Store \u003ca href=\"https://apps.apple.com/us/app/iwatch-dallas/id1482321757\" target=\"_blank\" rel=\"noopener noreferrer\">ranking\u003c/a>), after the Dallas police asked people to report “illegal activity” from the George Floyd and Black Lives Matter protests.\u003c/p>\n\u003cp>“I never thought I’d see the day where K-pop stans are defeating the police,” \u003ca href=\"https://twitter.com/blom_dot_com/status/1267252731959554050\" target=\"_blank\" rel=\"noopener noreferrer\">read\u003c/a> one tweet that received over 4,000 likes.\u003c/p>\n\u003cp>“Why is this so surprising? If you know the people in the K-pop fandom, this [political activism] seems natural,” says Lee Jeeheng, a cultural studies scholar and author of \u003ca href=\"https://www.amazon.com/BTS-ARMY-Culture-Lee-Jeeheng-ebook/dp/B083NJNNPR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>BTS and ARMY Culture\u003c/em>\u003c/a>, a book analyzing the fandom of the extremely popular group. “K-pop fandom is a digital tribe. Fans have been trained to mobilize quickly. They already have the infrastructure; when someone says, \u003cem>‘Go here!\u003c/em>‘ everybody can run towards the target.”\u003c/p>\n\u003cfigure id=\"attachment_13882460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg\" alt=\"K-pop fans in Central Park on May 15, 2019 in New York.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K-pop fans in Central Park on May 15, 2019 in New York. \u003ccite>(Drew Angerer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past, fans have \u003ca href=\"https://twitter.com/magic_breakfast/status/1222920159851094018\" target=\"_blank\" rel=\"noopener noreferrer\">donated to a London charity\u003c/a> to fund over 35,000 meals, reportedly \u003ca href=\"https://www.newsweek.com/chilean-government-blames-k-pop-recent-protests-1479151\" target=\"_blank\" rel=\"noopener noreferrer\">protested against\u003c/a> the Chilean government in 2019, \u003ca href=\"https://twitter.com/hyunsuinseoul/status/1268520597853581312\" target=\"_blank\" rel=\"noopener noreferrer\">raised awareness\u003c/a> about the need for safer roads in Bangladesh.\u003c/p>\n\u003cp>This activism, while not practiced by every K-pop fan, has a \u003ca href=\"https://www.koreaexpose.com/fascinating-world-k-pop-fandom-culture/\" target=\"_blank\" rel=\"noopener noreferrer\">long history\u003c/a>. In South Korea, organized music fandoms \u003ca href=\"https://www.reportshop.co.kr/social/102427\" target=\"_blank\" rel=\"noopener noreferrer\">began appearing\u003c/a> in the 1980s and ’90s. Fan philanthropy, now common in Korea beyond pop music, \u003ca href=\"https://www.newsen.com/news_view.php?uid=201812081756208010\" target=\"_blank\" rel=\"noopener noreferrer\">has its roots\u003c/a> in the early 2000s. Fans of the “first-generation” idol band Shinhwa, which debuted in 1998 and is still active, are credited with starting the “fan rice” trend in 2007, sending thousands of kilograms of rice to charity. Other fandoms \u003ca href=\"https://www.soompi.com/article/837751wpp/fans-donate-to-deaf-children-for-infinites-hoyas-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">have funded\u003c/a> cochlear implants for deaf children and more recently, \u003ca href=\"http://www.wowtv.co.kr/NewsCenter/News/Read?articleId=A202006110079&t=NN\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 efforts\u003c/a>.\u003c/p>\n\u003cp>Within and across different fandoms, political awareness is shared through loose online networks on Twitter, Instagram, fan cafes, etc.\u003c/p>\n\u003cp>Scholar Lee, a BTS fan, remembers one instance: In 2018, BTS member Jimin wore \u003ca href=\"https://www.bbc.com/news/world-asia-46147777\" target=\"_blank\" rel=\"noopener noreferrer\">a shirt\u003c/a> depicting the U.S atomic bombing of Japan, after which fans became embroiled in contentious debates about Western imperialism and Japan’s atrocities during WWII, including \u003ca href=\"https://www.npr.org/sections/parallels/2017/11/13/563838610/comfort-woman-memorial-statues-a-thorn-in-japans-side-now-sit-on-korean-buses\" target=\"_blank\" rel=\"noopener noreferrer\">sexually enslaving women\u003c/a> for its military. Multilingual fans furiously translated on Twitter, including Lee. “Fans from Southeast Asia started talking about their grandmothers who were sexually enslaved,” she recalls. “It was an incredible history lesson. It was a really moving experience. I witnessed diversity and minority representation in action.”\u003c/p>\n\u003cp>“Worldwide, K-pop is being consumed in the name of diversity politics,” \u003ca href=\"http://news.khan.co.kr/kh_news/khan_art_view.html?artid=202006082139025&code=960802#csidx183f27eda83c4abb96adce82d8be04b\" target=\"_blank\" rel=\"noopener noreferrer\">says \u003c/a>Mimyo, the editor-in-chief of \u003ca href=\"http://idology.kr/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Idology\u003c/em>\u003c/a>, an online magazine specializing in K-pop idol music. “Most K-pop fans are already interested in diversity politics; combine this with K-pop fandom’s culture of collective action. That’s why K-pop’s global fandom is participating actively in social movements like Black Lives Matter.”\u003c/p>\n\u003cp>“To be a non-Korean K-pop fan is innately political, I dunno why anyone is still surprised that K-pop fans are political,” \u003ca href=\"https://twitter.com/TamarWrites/status/1274531852829765632\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>Tamar Herman, a K-pop correspondent for \u003cem>Billboard\u003c/em>.\u003c/p>\n\u003cp>Herman and Mimyo’s comments are part of a growing media \u003ca href=\"https://www.washingtonpost.com/opinions/2020/06/11/surprised-seeing-k-pop-fans-stand-up-black-lives-matter-you-shouldnt-be/\" target=\"_blank\" rel=\"noopener noreferrer\">narrative\u003c/a> highlighting K-pop fans’ political progressiveness. But the reality is more complicated.\u003c/p>\n\u003cp>For one, there are plenty of fans like Dionne Saville, who don’t really engage in K-pop’s political activities. “K-pop is not at all an inherently political act for me. It’s just excellent music that crosses global boundaries. I enjoy the deeper cultural connection it brings,” Saville, a 47-year-old BTS fan in Yorkshire, U.K., tells NPR Music.\u003c/p>\n\u003cp>Then there are more sinister issues. Ironically for a music industry seen as heralding diversity politics, with millions of POC fans worldwide, K-pop creators still face constant accusations of \u003ca href=\"https://www.insider.com/kpop-stans-hashtags-fancams-whitelivesmatter-bts-matchamillion-army-donation-2020-6\" target=\"_blank\" rel=\"noopener noreferrer\">cultural appropriation\u003c/a> and racism, particularly against Black people.\u003c/p>\n\u003cp>For example, \u003ca href=\"https://popcrush.com/k-pop-scandals-international-blackface-racist/\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, though less common now, has brought plenty of A-list idols under fire. Artists also frequently stylize themselves after Black culture, and many cite Black music as a central influence.\u003c/p>\n\u003cp>“Traditionally, K-pop has not been a space that has validated Black feelings about those choices,” \u003ca href=\"https://www.teenvogue.com/story/k-pop-stars-speaking-up-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">writes\u003c/a> Natasha Mulenga for \u003cem>Teen Vogue\u003c/em>, “despite the impact Blackness has had on an industry that was reported at $5.4 billion … in 2018.”\u003c/p>\n\u003cp>Within the fandom, plenty of Black fans have voiced concerns about being \u003ca href=\"https://www.teenvogue.com/story/bts-fandom-needs-to-check-anti-blackness\" target=\"_blank\" rel=\"noopener noreferrer\">gaslit\u003c/a> by other fans when bringing up racism.\u003c/p>\n\u003cp>“It feels really hard to be a POC in K-pop,” says Dark. “When some fans try to talk about internal racism, or even cultural appropriation, it kind of gets pushed under the bed. People of color are shushed by other K-pop fans.”\u003c/p>\n\u003cp>That’s why, for Dark, some K-pop fans jumping in online to support the BLM movement feels hollow. “Some people’s gestures of ‘being an ally’ feels performative, like it’s just on a surface level.”\u003c/p>\n\u003cp>“Being a K-pop fan causes me lots of drama and issues mentally, because of the racism. But I feel it’s almost worth it to have that connection to the world, to music, to all these different ideas. K-pop helps me learn about the world.”\u003c/p>\n\u003cp>Meanwhile, many \u003ca href=\"https://abcnews.go.com/International/pop-stars-part-black-lives-matter-movement/story?id=71131938\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop artists have spoken out\u003c/a> on Black Lives Matter—a rare sight, since unlike many of their fans, most artists refrain from making political statements in public.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.twitter.com/Haekoko\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haeryun Kang\u003c/em>\u003c/a>\u003cem> is a freelance journalist based in Seoul and the creative director of \u003c/em>\u003ca href=\"https://twitter.com/videocusIN\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>videocusIN\u003c/em>\u003c/a>\u003cem>, a media incubator.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=K-Pop%27s+Digital+%27Army%27+Musters+To+Meet+The+Moment%2C+Baggage+In+Tow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Irresistible' Chooses an Inopportune Moment to Get Glib About Politics",
"headTitle": "‘Irresistible’ Chooses an Inopportune Moment to Get Glib About Politics | KQED",
"content": "\u003cp>Early in \u003cem>Irresistible\u003c/em>, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as “Rural America,” and under that, “Heartland, USA.” This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we’re about to visit will be the film’s purpose. Unfortunately, “Rural America: Heartland, USA” is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic. Given how broadly unobjectionable it is designed to be, it’s a little shocking how transparently it’s laboring to be subversive.\u003c/p>\n\u003cp>Gary (Steve Carell) is a campaign consultant (interestingly, the film’s official synopsis calls him a \u003ca href=\"https://www.newyorker.com/magazine/2006/08/07/the-ic-factor\" target=\"_blank\" rel=\"noopener noreferrer\">“Democrat campaign consultant”\u003c/a>) who worked for Hillary Clinton and is reeling from the 2016 election when we first meet him. If you watched Carell on \u003cem>The Office\u003c/em>, you largely know who Gary is: Think Michael Scott if he’d made his way into political consulting and used his sales skills over there, and also he didn’t have any of the redeeming qualities Michael Scott had.\u003c/p>\n\u003cp>Gary comes across a viral video of a Wisconsin veteran and farmer named Jack Hastings (Chris Cooper) giving a speech about principle at a town meeting in Rural America, Heartland USA. Enthralled by Hastings and seeing an opportunity, Gary descends on the town and becomes the leader of Jack’s campaign for mayor, which he wants to use as a proving ground for a more rural-friendly Democratic party in the wake of losses in several midwestern states in 2016.\u003c/p>\n\u003cp>Naturally, Jack is a reticent and plain-spoken farmer who resists Gary’s big-city, D.C. insider ways, and the film spends a lot of time guffawing at things like Gary telling his staff he wants to be authentic and stripped down for his trip to Wisconsin and needs a regular rental car, not a fancy one—then popping his head back in to ask for a car with Bose speakers in the kind of sequence you can call out from your couch with ease: “He’s going to pop back in and say he wants a champagne bath or something!”\u003c/p>\n\u003cp>Back in Rural America, Heartland USA, Gary and a Republican counterpart of his named Faith (played by Rose Byrne, deserving better as she often does) descend into a caricature of politics in which they’re uninterested in the stakes of the mayoral election; they just are interested in winning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, it’s hard to blame them, because there are no stakes in the election. There is no indication at any point that there is any disagreement among people in this town about anything. They are, as we will eventually learn, literally unified on every issue. There are no dissenters, there are no policies at stake; they are simple, ideologically interchangeable residents of Rural America, Heartland USA, who all just want to build schools and help each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0vhaAoSm1NY\u003c/p>\n\u003cp>This has always been Stewart’s theory, that if the media and national politicians and campaign finance laws would get out of the way, everyone really is basically the same on the inside. I first heard him articulate it at the Rally to Restore Sanity And/Or Fear on the National Mall in 2010, and it seems that his view of American political life has remained stable for the last 10 years. Which is really an accomplishment, of a sort.\u003c/p>\n\u003cp>Ironically, while castigating Beltway insiders for not really caring about the town, Stewart is also not interested in any of the local politics of the town and doesn’t doesn’t even suggest it has any; he’s only interested in Gary and Faith’s attempted manipulation of these simple good (white) people as a simulacrum of D.C. decay.\u003c/p>\n\u003cp>What of the fact that local governments actually have enormous influence on issues like zoning, policing, schools, election security, housing, and all manner of regulations? And what of the fact that bitter local battles have been central to issues of race, the safety of LGBTQ people, the economic security of imperiled communities, and the security of the environment? Battles that have played on genuine enmity between neighbors? That stuff, Stewart posits, doesn’t matter. We’d all be getting along fine without those Beltway insiders and their artificial divides.\u003c/p>\n\u003cp>In fairness, it may help the town avoid at least some common conflicts about race that the only Black people you ever see are specifically used in jokes about Black people. One appears in a scene where the joke is that he’s not part of a focus-group demographic, he’s the one Black guy. Three Black men in Black Lives Matter shirts later walk up to a Republican voter registration table, and the men working the table sloooooowly pull the pens and clipboards back. (Very funny to those in the mood for casual voter suppression humor!) None of these men speak.\u003c/p>\n\u003cp>Gary has one Black co-worker whose job it is to side-eye and mutter at her clueless colleagues (who, led by Debra Messing, hold hands and start chanting “si se puede” in a staff meeting) for a few seconds. And we meet a Black woman at a Washington fundraiser who I think has one line, but she is there as part of what appears to be an interracial lesbian couple wearing paired “Stay Woke” shirts who are trying to urbansplain “farm to table” to Jack the decent and wise Wisconsin farmer. They are part of the mockery of insufferable D.C. liberals, you see.\u003c/p>\n\u003cp>Perhaps what makes \u003cem>Irresistible \u003c/em>so hard to take at this moment is that it has the swagger of a much smarter movie than it is. It purports to investigate what’s gone wrong in American politics but focuses its idea of good Americans on an all-white town where everyone agrees about everything and nothing matters. Small towns only matter in this story because they are, as a single bloc, being mistreated and manipulated and blown about by Washington. It is in this story, and not in the world, that only Washington matters.\u003c/p>\n\u003cp>It’s also so utterly toothless as satire, because there’s nothing in it that challenges anyone’s ideas about anything. Who is going to find this provocative? The people who love Beltway insiders? SuperPAC stans? The thesis of the film is that people in the United States have been convinced that they have legitimate policy divisions by a cynical and manipulative media. We only think we have serious disagreements because the pundits are focused on artificial right-left divide, Stewart lectures through a character’s mouth at one point. He probably believes it; there are certainly those who can afford to.\u003c/p>\n\u003cp>It’s worth noting the “It’s just comedy! It’s not trying to teach anybody anything!” line that has been Jon Stewart’s explanation for every flaw in the impassioned civic arguments he’s been making since he took over \u003cem>The Daily Show \u003c/em>in 1999. But—and you won’t believe me when I tell you this—the closing image of \u003cem>Irresistible\u003c/em> is someone telling Jon Stewart how he got something exactly right and the two of them having a good laugh about how right he is. People who are just making little comedies don’t need to make special featurettes where they’re told that they’re right.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The funny thing is this: You know who’s really going to love this movie? People who go to D.C. political fundraising dinners, who will say, “Ha ha, that’s \u003cem>so\u003c/em> true, we \u003cem>are \u003c/em>like that,” and then they will keep doing exactly what they’re doing. They’ll also lament the fact that Jon Stewart ever left \u003cem>The Daily Show\u003c/em> and handed the reins to Trevor Noah, because they really miss Jon (who they call Jon), and they’re pretty sure he’d have had a \u003cem>lot \u003c/em>to say that’s relevant to our current political moment. Unfortunately, if he does, it won’t be in this movie.\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=%27Irresistible%27+Chooses+An+Inopportune+Moment+To+Get+Glib+About+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Jon Stewart's new comedy about politics and \"Rural America: Heartland, USA\" has little to offer in the current moment. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in \u003cem>Irresistible\u003c/em>, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as “Rural America,” and under that, “Heartland, USA.” This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we’re about to visit will be the film’s purpose. Unfortunately, “Rural America: Heartland, USA” is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic. Given how broadly unobjectionable it is designed to be, it’s a little shocking how transparently it’s laboring to be subversive.\u003c/p>\n\u003cp>Gary (Steve Carell) is a campaign consultant (interestingly, the film’s official synopsis calls him a \u003ca href=\"https://www.newyorker.com/magazine/2006/08/07/the-ic-factor\" target=\"_blank\" rel=\"noopener noreferrer\">“Democrat campaign consultant”\u003c/a>) who worked for Hillary Clinton and is reeling from the 2016 election when we first meet him. If you watched Carell on \u003cem>The Office\u003c/em>, you largely know who Gary is: Think Michael Scott if he’d made his way into political consulting and used his sales skills over there, and also he didn’t have any of the redeeming qualities Michael Scott had.\u003c/p>\n\u003cp>Gary comes across a viral video of a Wisconsin veteran and farmer named Jack Hastings (Chris Cooper) giving a speech about principle at a town meeting in Rural America, Heartland USA. Enthralled by Hastings and seeing an opportunity, Gary descends on the town and becomes the leader of Jack’s campaign for mayor, which he wants to use as a proving ground for a more rural-friendly Democratic party in the wake of losses in several midwestern states in 2016.\u003c/p>\n\u003cp>Naturally, Jack is a reticent and plain-spoken farmer who resists Gary’s big-city, D.C. insider ways, and the film spends a lot of time guffawing at things like Gary telling his staff he wants to be authentic and stripped down for his trip to Wisconsin and needs a regular rental car, not a fancy one—then popping his head back in to ask for a car with Bose speakers in the kind of sequence you can call out from your couch with ease: “He’s going to pop back in and say he wants a champagne bath or something!”\u003c/p>\n\u003cp>Back in Rural America, Heartland USA, Gary and a Republican counterpart of his named Faith (played by Rose Byrne, deserving better as she often does) descend into a caricature of politics in which they’re uninterested in the stakes of the mayoral election; they just are interested in winning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, it’s hard to blame them, because there are no stakes in the election. There is no indication at any point that there is any disagreement among people in this town about anything. They are, as we will eventually learn, literally unified on every issue. There are no dissenters, there are no policies at stake; they are simple, ideologically interchangeable residents of Rural America, Heartland USA, who all just want to build schools and help each other.\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/0vhaAoSm1NY'\n title='//www.youtube.com/embed/0vhaAoSm1NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This has always been Stewart’s theory, that if the media and national politicians and campaign finance laws would get out of the way, everyone really is basically the same on the inside. I first heard him articulate it at the Rally to Restore Sanity And/Or Fear on the National Mall in 2010, and it seems that his view of American political life has remained stable for the last 10 years. Which is really an accomplishment, of a sort.\u003c/p>\n\u003cp>Ironically, while castigating Beltway insiders for not really caring about the town, Stewart is also not interested in any of the local politics of the town and doesn’t doesn’t even suggest it has any; he’s only interested in Gary and Faith’s attempted manipulation of these simple good (white) people as a simulacrum of D.C. decay.\u003c/p>\n\u003cp>What of the fact that local governments actually have enormous influence on issues like zoning, policing, schools, election security, housing, and all manner of regulations? And what of the fact that bitter local battles have been central to issues of race, the safety of LGBTQ people, the economic security of imperiled communities, and the security of the environment? Battles that have played on genuine enmity between neighbors? That stuff, Stewart posits, doesn’t matter. We’d all be getting along fine without those Beltway insiders and their artificial divides.\u003c/p>\n\u003cp>In fairness, it may help the town avoid at least some common conflicts about race that the only Black people you ever see are specifically used in jokes about Black people. One appears in a scene where the joke is that he’s not part of a focus-group demographic, he’s the one Black guy. Three Black men in Black Lives Matter shirts later walk up to a Republican voter registration table, and the men working the table sloooooowly pull the pens and clipboards back. (Very funny to those in the mood for casual voter suppression humor!) None of these men speak.\u003c/p>\n\u003cp>Gary has one Black co-worker whose job it is to side-eye and mutter at her clueless colleagues (who, led by Debra Messing, hold hands and start chanting “si se puede” in a staff meeting) for a few seconds. And we meet a Black woman at a Washington fundraiser who I think has one line, but she is there as part of what appears to be an interracial lesbian couple wearing paired “Stay Woke” shirts who are trying to urbansplain “farm to table” to Jack the decent and wise Wisconsin farmer. They are part of the mockery of insufferable D.C. liberals, you see.\u003c/p>\n\u003cp>Perhaps what makes \u003cem>Irresistible \u003c/em>so hard to take at this moment is that it has the swagger of a much smarter movie than it is. It purports to investigate what’s gone wrong in American politics but focuses its idea of good Americans on an all-white town where everyone agrees about everything and nothing matters. Small towns only matter in this story because they are, as a single bloc, being mistreated and manipulated and blown about by Washington. It is in this story, and not in the world, that only Washington matters.\u003c/p>\n\u003cp>It’s also so utterly toothless as satire, because there’s nothing in it that challenges anyone’s ideas about anything. Who is going to find this provocative? The people who love Beltway insiders? SuperPAC stans? The thesis of the film is that people in the United States have been convinced that they have legitimate policy divisions by a cynical and manipulative media. We only think we have serious disagreements because the pundits are focused on artificial right-left divide, Stewart lectures through a character’s mouth at one point. He probably believes it; there are certainly those who can afford to.\u003c/p>\n\u003cp>It’s worth noting the “It’s just comedy! It’s not trying to teach anybody anything!” line that has been Jon Stewart’s explanation for every flaw in the impassioned civic arguments he’s been making since he took over \u003cem>The Daily Show \u003c/em>in 1999. But—and you won’t believe me when I tell you this—the closing image of \u003cem>Irresistible\u003c/em> is someone telling Jon Stewart how he got something exactly right and the two of them having a good laugh about how right he is. People who are just making little comedies don’t need to make special featurettes where they’re told that they’re right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The funny thing is this: You know who’s really going to love this movie? People who go to D.C. political fundraising dinners, who will say, “Ha ha, that’s \u003cem>so\u003c/em> true, we \u003cem>are \u003c/em>like that,” and then they will keep doing exactly what they’re doing. They’ll also lament the fact that Jon Stewart ever left \u003cem>The Daily Show\u003c/em> and handed the reins to Trevor Noah, because they really miss Jon (who they call Jon), and they’re pretty sure he’d have had a \u003cem>lot \u003c/em>to say that’s relevant to our current political moment. Unfortunately, if he does, it won’t be in this movie.\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=%27Irresistible%27+Chooses+An+Inopportune+Moment+To+Get+Glib+About+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Last of Us Part II' is a Gut Punch That Just Keeps Punching",
"headTitle": "‘The Last of Us Part II’ is a Gut Punch That Just Keeps Punching | KQED",
"content": "\u003cp>\u003cem>The Last of Us Part II\u003c/em> is a game that punches you in the gut right from the start, and never stops punching.\u003c/p>\n\u003cp>During a time like this, I honestly didn’t know if I could handle a game like \u003cem>The Last of Us\u003c/em>, either part of it. As a journalist in 2020, a lot of my waking thoughts go to the news (which is usually upsetting). I wasn’t really tempted to escape into an apocalyptic hellscape where 60% of the world’s population is killed by a parasitic fungus that turns you into a zombie.\u003c/p>\n\u003cp>It wasn’t from a lack of interest. I’ve been looking forward to this game for years. The original \u003cem>Last of Us\u003c/em>, released in 2013, is considered one of the best games of all time. People had extraordinarily high expectations for this new installment—and it’s another masterpiece just like the first.\u003c/p>\n\u003cp>If you’re unfamiliar with the story: The main character, Joel, is a smuggler who lost his daughter during the initial outbreak. He was hired by a group called the Fireflies to transport a 14-year-old girl named Ellie from the Boston quarantine zone to a hospital in Salt Lake City. She is immune to the virus, and the Fireflies want to use that to create a vaccine.\u003c/p>\n\u003cp>\u003cem>Warning: Spoilers ahead for the original game … which you really should have played by now!\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite initially being ice-cold to Ellie, Joel starts seeing her as a daughter during their journey—so when they get to Salt Lake City and he finds out creating the vaccine will kill Ellie, Joel chooses to rescue her, killing everybody in his path.\u003c/p>\n\u003cp>Players of the first game rationalized Joel’s actions—he had gotten to know and love Ellie, and so did we. Some people (not me) say saving her was the right thing to do! But what about everybody else in the world, who has to live with the effects of decisions like that?\u003c/p>\n\u003cp>In \u003cem>The Last of Us Part II\u003c/em>, we see what happens when the need for revenge and justice overtakes everything else. We see how the world makes people do desperate things for understandable reasons. The game doesn’t glorify violence—instead, it shows you the awful effects of violence on survivors. But that isn’t apparent until the top-secret second half of the game, when the waterworks really start flowing.\u003c/p>\n\u003cp>Ellie is now one of the main playable characters. She’s 19, and noticeably different from the bubbly 14-year-old she was in the previous game. Like everybody else in this universe, Ellie has been traumatized by her experiences, and they have hardened her.\u003c/p>\n\u003cfigure id=\"attachment_13882214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/screen_tlou2_teaser_05_1480799632_wide-63166899ac03afdd0ccb96305053d3c09849def6-800x450.png\" alt=\"At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn't last.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn’t last. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Right at the beginning, there’s a glimmer of hope: Joel and Ellie have achieved a new normal, living at a compound in Jackson, Wyo., owned by Joel’s brother Tommy. And at this point, everybody can handle zombies so easily that to Ellie, getting rid of them can be like going on a casual hunting trip.\u003c/p>\n\u003cp>But she loves playing guitar, comics, and movies. She thinks corny jokes are hilarious and collects trading cards hiding around the map. Her diary is filled with entries about girls she is dating. And she really loves her friends, her crush Dina, and Joel, despite their newly tense relationship.\u003c/p>\n\u003cp>She also thinks it’s odd to be in a quarantine zone without hearing constant gunfire and explosions—and talks about the first time she killed somebody like she’s talking about the first time she drank a beer.\u003c/p>\n\u003cp>Since this is still \u003cem>The Last of Us\u003c/em>, you know the new normal will be ripped away pretty fast. And when that happens, Ellie heads for Seattle to get revenge. That’s right: Revenge. Ellie started as a person willing to sacrifice her life to save the world. But loss has turned her into kind of a heartless monster, willing to sacrifice others for her own goals.\u003c/p>\n\u003cp>And since this is still \u003cem>The Last of Us\u003c/em>, you’ll be admiring the gorgeous, expansive world—full of puzzles, challenges and things to explore—as Ellie travels through it on her awful mission.\u003c/p>\n\u003cfigure id=\"attachment_13882215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/2510225ee9c2f1317175.94897258-tloupii_review_screenshot_06_wide-2899990ac0c81d3e4230507e729537d56c8fd114-800x450.jpg\" alt=\"The world of 'Part II' is even bigger, lusher and more engaging than the first game.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The world of ‘Part II’ is even bigger, lusher and more engaging than the first game. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Part II \u003c/em>makes you deeply aware of the consequences of your actions. In most video games, you don’t question why you’re killing people, you just assume that everybody in a specific faction is bad. In this game, it’s not so black and white.\u003c/p>\n\u003cp>And Naughty Dog does a great job of getting players to connect with every character, not just the main characters. You truly feel like you’re experiencing this disturbing journey with Ellie—you feel her fall in love, you feel her grief, her anger, her fears.\u003c/p>\n\u003cp>But you also feel for your enemies. It’s crushing to hear Ellie’s targets talk about their own hopes, fears, and futures when she may soon have to kill them. I started avoiding combat whenever possible, and spent a lot of time trying to sneak around dangerous humans instead of confronting them.\u003c/p>\n\u003cp>By the time I finished this emotional rollercoaster, I was a weeping mess. I did nothing but sob \u003cem>hard\u003c/em> for about an hour. I thought I’d gotten it out of my system. But afterward, I kept bursting into tears every now and then, when my mind wandered to little moments in the game.\u003c/p>\n\u003cp>It’s not easy to understand why I felt like that until you play the second half of the game, the part I can’t tell you about.\u003c/p>\n\u003cp>I think \u003cem>The Last of Us Part II \u003c/em>has changed me a bit as a person. It made me very aware of the little things in my life that I take for granted, the kinds of things you don’t appreciate until they’re ripped away forever. It’s easy to get lost in the darkness of the world, but it’s necessary to look at the things that bring you light.\u003c/p>\n\u003cp>I wasn’t expecting it to be a happy game by any means, but I could have never predicted just how intense an emotional experience it was. I don’t think I’m going to be able to look at the original game the same way ever again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\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=%27The+Last+Of+Us+Part+II%27+Is+A+Gut+Punch+That+Just+Keeps+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Last of Us Part II\u003c/em> is a game that punches you in the gut right from the start, and never stops punching.\u003c/p>\n\u003cp>During a time like this, I honestly didn’t know if I could handle a game like \u003cem>The Last of Us\u003c/em>, either part of it. As a journalist in 2020, a lot of my waking thoughts go to the news (which is usually upsetting). I wasn’t really tempted to escape into an apocalyptic hellscape where 60% of the world’s population is killed by a parasitic fungus that turns you into a zombie.\u003c/p>\n\u003cp>It wasn’t from a lack of interest. I’ve been looking forward to this game for years. The original \u003cem>Last of Us\u003c/em>, released in 2013, is considered one of the best games of all time. People had extraordinarily high expectations for this new installment—and it’s another masterpiece just like the first.\u003c/p>\n\u003cp>If you’re unfamiliar with the story: The main character, Joel, is a smuggler who lost his daughter during the initial outbreak. He was hired by a group called the Fireflies to transport a 14-year-old girl named Ellie from the Boston quarantine zone to a hospital in Salt Lake City. She is immune to the virus, and the Fireflies want to use that to create a vaccine.\u003c/p>\n\u003cp>\u003cem>Warning: Spoilers ahead for the original game … which you really should have played by now!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite initially being ice-cold to Ellie, Joel starts seeing her as a daughter during their journey—so when they get to Salt Lake City and he finds out creating the vaccine will kill Ellie, Joel chooses to rescue her, killing everybody in his path.\u003c/p>\n\u003cp>Players of the first game rationalized Joel’s actions—he had gotten to know and love Ellie, and so did we. Some people (not me) say saving her was the right thing to do! But what about everybody else in the world, who has to live with the effects of decisions like that?\u003c/p>\n\u003cp>In \u003cem>The Last of Us Part II\u003c/em>, we see what happens when the need for revenge and justice overtakes everything else. We see how the world makes people do desperate things for understandable reasons. The game doesn’t glorify violence—instead, it shows you the awful effects of violence on survivors. But that isn’t apparent until the top-secret second half of the game, when the waterworks really start flowing.\u003c/p>\n\u003cp>Ellie is now one of the main playable characters. She’s 19, and noticeably different from the bubbly 14-year-old she was in the previous game. Like everybody else in this universe, Ellie has been traumatized by her experiences, and they have hardened her.\u003c/p>\n\u003cfigure id=\"attachment_13882214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/screen_tlou2_teaser_05_1480799632_wide-63166899ac03afdd0ccb96305053d3c09849def6-800x450.png\" alt=\"At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn't last.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn’t last. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Right at the beginning, there’s a glimmer of hope: Joel and Ellie have achieved a new normal, living at a compound in Jackson, Wyo., owned by Joel’s brother Tommy. And at this point, everybody can handle zombies so easily that to Ellie, getting rid of them can be like going on a casual hunting trip.\u003c/p>\n\u003cp>But she loves playing guitar, comics, and movies. She thinks corny jokes are hilarious and collects trading cards hiding around the map. Her diary is filled with entries about girls she is dating. And she really loves her friends, her crush Dina, and Joel, despite their newly tense relationship.\u003c/p>\n\u003cp>She also thinks it’s odd to be in a quarantine zone without hearing constant gunfire and explosions—and talks about the first time she killed somebody like she’s talking about the first time she drank a beer.\u003c/p>\n\u003cp>Since this is still \u003cem>The Last of Us\u003c/em>, you know the new normal will be ripped away pretty fast. And when that happens, Ellie heads for Seattle to get revenge. That’s right: Revenge. Ellie started as a person willing to sacrifice her life to save the world. But loss has turned her into kind of a heartless monster, willing to sacrifice others for her own goals.\u003c/p>\n\u003cp>And since this is still \u003cem>The Last of Us\u003c/em>, you’ll be admiring the gorgeous, expansive world—full of puzzles, challenges and things to explore—as Ellie travels through it on her awful mission.\u003c/p>\n\u003cfigure id=\"attachment_13882215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/2510225ee9c2f1317175.94897258-tloupii_review_screenshot_06_wide-2899990ac0c81d3e4230507e729537d56c8fd114-800x450.jpg\" alt=\"The world of 'Part II' is even bigger, lusher and more engaging than the first game.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The world of ‘Part II’ is even bigger, lusher and more engaging than the first game. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Part II \u003c/em>makes you deeply aware of the consequences of your actions. In most video games, you don’t question why you’re killing people, you just assume that everybody in a specific faction is bad. In this game, it’s not so black and white.\u003c/p>\n\u003cp>And Naughty Dog does a great job of getting players to connect with every character, not just the main characters. You truly feel like you’re experiencing this disturbing journey with Ellie—you feel her fall in love, you feel her grief, her anger, her fears.\u003c/p>\n\u003cp>But you also feel for your enemies. It’s crushing to hear Ellie’s targets talk about their own hopes, fears, and futures when she may soon have to kill them. I started avoiding combat whenever possible, and spent a lot of time trying to sneak around dangerous humans instead of confronting them.\u003c/p>\n\u003cp>By the time I finished this emotional rollercoaster, I was a weeping mess. I did nothing but sob \u003cem>hard\u003c/em> for about an hour. I thought I’d gotten it out of my system. But afterward, I kept bursting into tears every now and then, when my mind wandered to little moments in the game.\u003c/p>\n\u003cp>It’s not easy to understand why I felt like that until you play the second half of the game, the part I can’t tell you about.\u003c/p>\n\u003cp>I think \u003cem>The Last of Us Part II \u003c/em>has changed me a bit as a person. It made me very aware of the little things in my life that I take for granted, the kinds of things you don’t appreciate until they’re ripped away forever. It’s easy to get lost in the darkness of the world, but it’s necessary to look at the things that bring you light.\u003c/p>\n\u003cp>I wasn’t expecting it to be a happy game by any means, but I could have never predicted just how intense an emotional experience it was. I don’t think I’m going to be able to look at the original game the same way ever again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\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=%27The+Last+Of+Us+Part+II%27+Is+A+Gut+Punch+That+Just+Keeps+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "meet-gay-bob-the-1977-doll-that-urged-people-to-come-out-of-the-closet",
"title": "Meet Gay Bob, the 1977 Doll That Urged People to Come Out of the Closet",
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"content": "\u003cp>In 1860s Germany, \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Heinrich_Ulrichs\" target=\"_blank\" rel=\"noopener noreferrer\">Karl Heinrich Ulrichs\u003c/a> urged other gay people to publicly reveal their sexual orientation. In 1914, \u003ca href=\"https://books.google.com/books/about/The_Homosexuality_of_Men_and_Women.html?id=iDhWtiLsIMwC\" target=\"_blank\" rel=\"noopener noreferrer\">Magnus Hirschfeld wrote\u003c/a> of the revolutionary potential of respected gay women and men coming out en masse. By the late 1960s, coming out was treated with the utmost importance within the gay rights movement. And in 1977, Gay Bob arrived.\u003c/p>\n\u003cp>It was the same year that Harvey Milk became the first openly gay man elected to public office in California. And while Milk was urging his friends and community to \u003ca href=\"https://www.huffpost.com/entry/how-harvey-milks-challeng_b_5960258\" target=\"_blank\" rel=\"noopener noreferrer\">come out of the closet\u003c/a>, the “World’s First Gay Doll” was doing the exact same thing.\u003c/p>\n\u003cfigure id=\"attachment_13880946\" class=\"wp-caption aligncenter\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gay-bob-doll-4.jpg\" alt=\"An original ad for the Gay Bob doll.\" width=\"420\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4-160x244.jpg 160w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">An original ad for the Gay Bob doll.\u003c/figcaption>\u003c/figure>\n\u003cp>Designed to look like a combination of Paul Newman and Robert Redford and packed into his own cardboard closet, Gay Bob was the brainchild of former advertising executive Harvey Rosenberg. The New Yorker used $10,000 of his own money to launch the doll and had it made in Hong Kong after American \u003ca href=\"https://hornet.com/stories/gay-bob-doll/\" target=\"_blank\" rel=\"noopener noreferrer\">manufacturers refused\u003c/a> to make Bob’s groin anatomically correct.\u003c/p>\n\u003cp>Rosenberg wanted Gay Bob to normalize the coming out process, while also acting as a fun accessory for those who were already out and proud. In \u003ca href=\"https://www.youtube.com/watch?v=3z6jPlHMlxU\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> to promote Gay Bob, Rosenberg once said, “Bob’s perfect for an executive’s desk, dash board ornament, the attache case, the bathtub rim, a health club gym bag.”\u003c/p>\n\u003cp>Despite Gay Bob having a realistic penis, the snazzy fashion catalog contained in the doll’s packaging was distinctly child-friendly:\u003c/p>\n\u003cblockquote>\u003cp>Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll. I bet you are wondering why I come packed in a closet. ‘Coming out of the closet’ is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are… Gay people are no different than straight people. If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people… It’s not easy to be honest about what you are, in fact it takes a great deal of courage. But remember, if Gay Bob has the courage to come out of his closet, so can you!\u003c/p>\u003c/blockquote>\n\u003cp>Despite his optimistic message, conservative groups of the era viewed Gay Bob as a threat to family values. Edward Rowe, the executive director of Protect America’s Children, was quoted in a \u003ca href=\"https://www.newspapers.com/clip/32186037/gays-and-dolls-a-piece-about-the-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">1978 issue of the \u003cem>Pittsburgh Post-Gazette\u003c/em>\u003c/a> describing Gay Bob as “another evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people. I can only hope that the children who are given these Gay Bob dolls will not comprehend the meaning and intent of the campaign.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Attempts to get the doll into department stores were largely a failure, so Rosenberg primarily sold Gay Bob via mail order ads in gay magazines. One doll cost $19.50, including shipping and handling, and it was $35 for a pair. Two thousand people snapped up their own Gay Bobs in the first two months of the doll being available, and Bob was later stocked in San Francisco and New York boutiques.\u003c/p>\n\u003cp>In addition to winning \u003cem>Esquire’\u003c/em>s “\u003ca href=\"https://artsandculture.google.com/asset/doll-gay-bob-harvey-rosenberg-inc/7AH5W5xCmLdaPg?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Dubious Achievement Award\u003c/a>” in 1978, Gay Bob got his very own storyline in Frank Zappa’s 9-minute ode to sexual experimentation, “\u003ca href=\"https://www.youtube.com/watch?v=-u-0e4Gn2BU\" target=\"_blank\" rel=\"noopener noreferrer\">Sy Borg\u003c/a>.” In the song, a robotic voice tells a human man: “I share this apartment with a modified Gay Bob doll. He goes all the way! Ever try oral sex with a miniature rubberized homo-replica?” And then later: “This is him. Your wish is his command. He likes you. He wants to kiss you always. Just tell him what you want.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, Gay Bob is simply an amusing quirk on the timeline of LGBTQ+ history. But he remains in demand as a collector’s item, fetching \u003ca href=\"https://www.ebay.com/itm/1977-GAY-BOB-OUT-THE-CLOSET-13-DOLL-never-pulled-from-box/293550344513?hash=item4458f6c941:g:gHwAAOSwrENemg4G\" target=\"_blank\" rel=\"noopener noreferrer\">upwards of $200\u003c/a> on auction websites. At the time he was made, tongue-in-cheek though he was, Bob was meant to increase the visibility of gay people everywhere. “We had something to learn from the gay movement, just like we did from the Black civil rights movement and the women’s movement,” \u003ca href=\"https://www.babiafi.co.uk/2015/07/gay-bob.html\" target=\"_blank\" rel=\"noopener noreferrer\">Harvey Rosenberg once said\u003c/a>. “And that is having the courage to stand up and say ‘I have a right to be what I am.’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1860s Germany, \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Heinrich_Ulrichs\" target=\"_blank\" rel=\"noopener noreferrer\">Karl Heinrich Ulrichs\u003c/a> urged other gay people to publicly reveal their sexual orientation. In 1914, \u003ca href=\"https://books.google.com/books/about/The_Homosexuality_of_Men_and_Women.html?id=iDhWtiLsIMwC\" target=\"_blank\" rel=\"noopener noreferrer\">Magnus Hirschfeld wrote\u003c/a> of the revolutionary potential of respected gay women and men coming out en masse. By the late 1960s, coming out was treated with the utmost importance within the gay rights movement. And in 1977, Gay Bob arrived.\u003c/p>\n\u003cp>It was the same year that Harvey Milk became the first openly gay man elected to public office in California. And while Milk was urging his friends and community to \u003ca href=\"https://www.huffpost.com/entry/how-harvey-milks-challeng_b_5960258\" target=\"_blank\" rel=\"noopener noreferrer\">come out of the closet\u003c/a>, the “World’s First Gay Doll” was doing the exact same thing.\u003c/p>\n\u003cfigure id=\"attachment_13880946\" class=\"wp-caption aligncenter\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gay-bob-doll-4.jpg\" alt=\"An original ad for the Gay Bob doll.\" width=\"420\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4-160x244.jpg 160w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">An original ad for the Gay Bob doll.\u003c/figcaption>\u003c/figure>\n\u003cp>Designed to look like a combination of Paul Newman and Robert Redford and packed into his own cardboard closet, Gay Bob was the brainchild of former advertising executive Harvey Rosenberg. The New Yorker used $10,000 of his own money to launch the doll and had it made in Hong Kong after American \u003ca href=\"https://hornet.com/stories/gay-bob-doll/\" target=\"_blank\" rel=\"noopener noreferrer\">manufacturers refused\u003c/a> to make Bob’s groin anatomically correct.\u003c/p>\n\u003cp>Rosenberg wanted Gay Bob to normalize the coming out process, while also acting as a fun accessory for those who were already out and proud. In \u003ca href=\"https://www.youtube.com/watch?v=3z6jPlHMlxU\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> to promote Gay Bob, Rosenberg once said, “Bob’s perfect for an executive’s desk, dash board ornament, the attache case, the bathtub rim, a health club gym bag.”\u003c/p>\n\u003cp>Despite Gay Bob having a realistic penis, the snazzy fashion catalog contained in the doll’s packaging was distinctly child-friendly:\u003c/p>\n\u003cblockquote>\u003cp>Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll. I bet you are wondering why I come packed in a closet. ‘Coming out of the closet’ is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are… Gay people are no different than straight people. If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people… It’s not easy to be honest about what you are, in fact it takes a great deal of courage. But remember, if Gay Bob has the courage to come out of his closet, so can you!\u003c/p>\u003c/blockquote>\n\u003cp>Despite his optimistic message, conservative groups of the era viewed Gay Bob as a threat to family values. Edward Rowe, the executive director of Protect America’s Children, was quoted in a \u003ca href=\"https://www.newspapers.com/clip/32186037/gays-and-dolls-a-piece-about-the-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">1978 issue of the \u003cem>Pittsburgh Post-Gazette\u003c/em>\u003c/a> describing Gay Bob as “another evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people. I can only hope that the children who are given these Gay Bob dolls will not comprehend the meaning and intent of the campaign.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attempts to get the doll into department stores were largely a failure, so Rosenberg primarily sold Gay Bob via mail order ads in gay magazines. One doll cost $19.50, including shipping and handling, and it was $35 for a pair. Two thousand people snapped up their own Gay Bobs in the first two months of the doll being available, and Bob was later stocked in San Francisco and New York boutiques.\u003c/p>\n\u003cp>In addition to winning \u003cem>Esquire’\u003c/em>s “\u003ca href=\"https://artsandculture.google.com/asset/doll-gay-bob-harvey-rosenberg-inc/7AH5W5xCmLdaPg?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Dubious Achievement Award\u003c/a>” in 1978, Gay Bob got his very own storyline in Frank Zappa’s 9-minute ode to sexual experimentation, “\u003ca href=\"https://www.youtube.com/watch?v=-u-0e4Gn2BU\" target=\"_blank\" rel=\"noopener noreferrer\">Sy Borg\u003c/a>.” In the song, a robotic voice tells a human man: “I share this apartment with a modified Gay Bob doll. He goes all the way! Ever try oral sex with a miniature rubberized homo-replica?” And then later: “This is him. Your wish is his command. He likes you. He wants to kiss you always. Just tell him what you want.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, Gay Bob is simply an amusing quirk on the timeline of LGBTQ+ history. But he remains in demand as a collector’s item, fetching \u003ca href=\"https://www.ebay.com/itm/1977-GAY-BOB-OUT-THE-CLOSET-13-DOLL-never-pulled-from-box/293550344513?hash=item4458f6c941:g:gHwAAOSwrENemg4G\" target=\"_blank\" rel=\"noopener noreferrer\">upwards of $200\u003c/a> on auction websites. At the time he was made, tongue-in-cheek though he was, Bob was meant to increase the visibility of gay people everywhere. “We had something to learn from the gay movement, just like we did from the Black civil rights movement and the women’s movement,” \u003ca href=\"https://www.babiafi.co.uk/2015/07/gay-bob.html\" target=\"_blank\" rel=\"noopener noreferrer\">Harvey Rosenberg once said\u003c/a>. “And that is having the courage to stand up and say ‘I have a right to be what I am.’”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anti-Racism Celeb PSA ‘I Take Responsibility’ is the New ‘Imagine’",
"headTitle": "Anti-Racism Celeb PSA ‘I Take Responsibility’ is the New ‘Imagine’ | KQED",
"content": "\u003cp>Remember back in March when \u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">Wonder Woman got a pile of celebrities together\u003c/a> to fix COVID-19 by singing “Imagine”? And it was impossible to imagine anything more cringeworthy? Well, hang onto your pants everyone, because an even more insufferable celebrity montage just came along.\u003c/p>\n\u003cp>It’s the I Take Responsibility pledge, and it looks like this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=121&v=ZhbydhzQUzU\u003c/p>\n\u003cp>That’s right! Having not learned any lessons from the public annihilation of “Imagine” on Twitter, celebrities I thought were cool yesterday are now getting together to solve racism by dramatically reading words off cue cards. (We can see your eyes moving, Debra Messing and Stanley Tucci!)\u003c/p>\n\u003cp>I had hoped that Sarah Paulson, Justin Theroux, Kristen Bell and Julianne Moore were far too sensible and self-aware to indulge in this kind of performative nonsense, but here we are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In all fairness, if you manage to sit through the clip long enough to get the name of the website, \u003ca href=\"https://itakeresponsibility.org/\" target=\"_blank\" rel=\"noopener noreferrer\">itakeresponsibility.org\u003c/a> does have some useful resources. There are links to donate to \u003ca href=\"https://secure.givelively.org/donate/the-bail-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Bail Project\u003c/a>, as well as the families of \u003ca href=\"https://www.gofundme.com/f/i-run-with-maud\" target=\"_blank\" rel=\"noopener noreferrer\">Ahmaud Arbery\u003c/a>, \u003ca href=\"https://www.gofundme.com/f/georgefloyd\" target=\"_blank\" rel=\"noopener noreferrer\">George Floyd\u003c/a> and \u003ca href=\"https://www.gofundme.com/f/9v4q2-justice-for-breonna-taylor\" target=\"_blank\" rel=\"noopener noreferrer\">Breonna Taylor\u003c/a>. (Though Breonna’s name is spelled wrong at one point. Ugh.) And there are links to police reform campaigns, \u003ca href=\"https://8cantwait.org/\" target=\"_blank\" rel=\"noopener noreferrer\">#8 Cant Wait\u003c/a>, \u003ca href=\"https://www.joincampaignzero.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Campaign Zero\u003c/a> and \u003ca href=\"https://www.reclaimtheblock.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaim the Block\u003c/a>.\u003c/p>\n\u003cp>Crucially, however, you’re not allowed to look at any information on the website or get to the “Donate” button until you’ve ticked these boxes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-800x412.png\" alt=\"\" width=\"800\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-800x412.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-160x82.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-768x395.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-1020x525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM.png 1176w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-800x377.png\" alt=\"\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-800x377.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-160x75.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-768x362.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-1020x480.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM.png 1174w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And if you go back to the website more than once, you have to tick those stupid boxes to “Get Started” every single time.\u003c/p>\n\u003cp>Raising money for good causes and asking people to hold themselves personally accountable for racism are both excellent things to do. Obviously. But surely enough has happened in the last few weeks to know all of this without having to sit through chest-clutching dramatic readings from well-meaning celebrities. [aside postid='arts_13877066']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Being told that Black people “are our friends and family” and “shopping in a store should not be a death sentence”—like we didn’t previously know those things—is beyond facile. I for one would have preferred a video in which these celebs discussed concrete plans for being useful to the struggle moving forward. But I’d also have settled for one in which they publicly declared how much money they’re \u003ca href=\"https://www.kqed.org/arts/13881199/5-ways-to-show-up-for-racial-justice-today\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A new gaggle of celebs just got together to tell you (very dramatically) how bad racism is. At least it's for a good cause this time?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember back in March when \u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">Wonder Woman got a pile of celebrities together\u003c/a> to fix COVID-19 by singing “Imagine”? And it was impossible to imagine anything more cringeworthy? Well, hang onto your pants everyone, because an even more insufferable celebrity montage just came along.\u003c/p>\n\u003cp>It’s the I Take Responsibility pledge, and it looks like this:\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/ZhbydhzQUzU'\n title='//www.youtube.com/embed/ZhbydhzQUzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s right! Having not learned any lessons from the public annihilation of “Imagine” on Twitter, celebrities I thought were cool yesterday are now getting together to solve racism by dramatically reading words off cue cards. (We can see your eyes moving, Debra Messing and Stanley Tucci!)\u003c/p>\n\u003cp>I had hoped that Sarah Paulson, Justin Theroux, Kristen Bell and Julianne Moore were far too sensible and self-aware to indulge in this kind of performative nonsense, but here we are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In all fairness, if you manage to sit through the clip long enough to get the name of the website, \u003ca href=\"https://itakeresponsibility.org/\" target=\"_blank\" rel=\"noopener noreferrer\">itakeresponsibility.org\u003c/a> does have some useful resources. There are links to donate to \u003ca href=\"https://secure.givelively.org/donate/the-bail-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Bail Project\u003c/a>, as well as the families of \u003ca href=\"https://www.gofundme.com/f/i-run-with-maud\" target=\"_blank\" rel=\"noopener noreferrer\">Ahmaud Arbery\u003c/a>, \u003ca href=\"https://www.gofundme.com/f/georgefloyd\" target=\"_blank\" rel=\"noopener noreferrer\">George Floyd\u003c/a> and \u003ca href=\"https://www.gofundme.com/f/9v4q2-justice-for-breonna-taylor\" target=\"_blank\" rel=\"noopener noreferrer\">Breonna Taylor\u003c/a>. (Though Breonna’s name is spelled wrong at one point. Ugh.) And there are links to police reform campaigns, \u003ca href=\"https://8cantwait.org/\" target=\"_blank\" rel=\"noopener noreferrer\">#8 Cant Wait\u003c/a>, \u003ca href=\"https://www.joincampaignzero.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Campaign Zero\u003c/a> and \u003ca href=\"https://www.reclaimtheblock.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaim the Block\u003c/a>.\u003c/p>\n\u003cp>Crucially, however, you’re not allowed to look at any information on the website or get to the “Donate” button until you’ve ticked these boxes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-800x412.png\" alt=\"\" width=\"800\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-800x412.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-160x82.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-768x395.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM-1020x525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.58.03-AM.png 1176w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-800x377.png\" alt=\"\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-800x377.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-160x75.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-768x362.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM-1020x480.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-11-at-10.57.40-AM.png 1174w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And if you go back to the website more than once, you have to tick those stupid boxes to “Get Started” every single time.\u003c/p>\n\u003cp>Raising money for good causes and asking people to hold themselves personally accountable for racism are both excellent things to do. Obviously. But surely enough has happened in the last few weeks to know all of this without having to sit through chest-clutching dramatic readings from well-meaning celebrities. \u003c/p>\u003c/div>",
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"id": "baycurious",
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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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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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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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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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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. ",
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"jerrybrown": {
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"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",
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"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": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"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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