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"content": "\u003cp>Ronan Farrow’s 2017 \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">exposé \u003c/a>of the sexual misconduct allegations against film producer Harvey Weinstein in \u003cem>The New Yorker\u003c/em> earned him a Pulitzer Prize and helped usher in the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a> movement. Now, in his new book, \u003cem>Catch and Kill,\u003c/em> Farrow writes about the extreme tactics Weinstein allegedly used in an attempt to keep him from reporting the story.\u003c/p>\n\u003cp>“Harvey Weinstein’s attorneys … signed a contract with this Israeli private intelligence firm \u003ca href=\"https://www.npr.org/tags/562631560/black-cube\">Black Cube \u003c/a>explicitly tasking secret agents with killing reporting on Harvey Weinstein,” Farrow says. “There was a full-on international espionage operation that was built up around this.”\u003c/p>\n\u003cp>Farrow says that he was followed and that his house was bugged as a result of his work on the story. He eventually moved into a safe house and put his reporting documents into a safe deposit box with a note reading, “Should anything happen to me, please make sure this information is released.”\u003c/p>\n\u003cp>Farrow had started investigating Weinstein as a reporter at NBC News. But, he says, network executives blocked the story from ever being broadcast and eventually let Farrow go. Farrow speculates that the network was doing so, in part, to protect news anchor Matt Lauer, who was subsequently accused of sexual misconduct. Farrow spoke about NBC’s efforts to stifle the Weinstein story in \u003ca href=\"https://www.npr.org/2019/10/11/769326096/ronan-farrow-stands-by-his-reporting-on-nbc-s-corrosive-secrecy-around-sexual-ab\">this NPR interview\u003c/a>. NBC News has maintained that Farrow’s story on the sexual misconduct allegations was not solid—that he had no accusers on record, specifically—when it refused to move forward with the story in 2017 before he took it to \u003cem>The New Yorker\u003c/em>.\u003c/p>\n\u003cp>Farrow notes that NBC’s efforts to quash the story are part of a broader “catch and kill” strategy, whereby powerful entities and individuals go to extreme lengths to keep unfavorable stories from being reported. His book alleges that American Media Inc., the parent company of the tabloid \u003cem>National Enquirer, \u003c/em>engaged in such practices in an effort to control negative stories about then- presidential candidate Donald Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I personally reported a number of stories about cases in which AMI sought or actually did buy the rights to a story in order to get rid of it during the election, and that subsequently has become the subject of a serious criminal investigation,” Farrow says.\u003c/p>\n\u003cp>He adds that the practice of catch and kill is “used both literally in the plot with respect to several stories that AMI goes after and tries to bury for Donald Trump and others, but also figuratively about the media’s role in sometimes not just advancing, but also suppressing, stories.”\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the backlash he has experienced because of the book \u003c/strong>\u003c/p>\n\u003cp>Doing these kinds of investigations of powerful interests means that you get a whole smear machine spun up against you every single time. It happened on the Weinstein story; it happened on the CBS story; it happened on the NBC story; it happened on the AMI story. And all I can say is I’ve been immensely heartened, Terry, by the way in which fellow reporters have rallied around the journalism in this book and defended it and independently corroborated it. And the reaction has been pretty uniform.\u003c/p>\n\u003cp>Just like with the Harvey Weinstein story, I think people have seen through the spin and I think that they have correctly pulled out of this book the important themes which is there are systems still in place at some of the top institutions in this country that aid and abet and protect people accused of serious crimes and silence accusers and shut down reporting. But there are also really brave sources who continue to speak and reporters who continue to bang their heads against the wall trying to make sure the truth comes out. And I leave this process of reporting this book with immense hope and immense optimism, because I don’t see any signs of that stopping.\u003c/p>\n\u003cp>\u003cstrong>On how AMI’s catch-and-kill efforts relate to the Weinstein story\u003c/strong>\u003c/p>\n\u003cp>[AMI] had what’s called a “kill file,” which they have for various celebrities containing all of the dirt that they haven’t published on someone. … There’s various reasons why AMI doesn’t publish things. … In a number of cases they don’t publish things because of an arrangement they broker with a powerful person. … [Chief Content Officer and Vice President] Dylan Howard develops a very close relationship with Harvey Weinstein. We have all of his statements saying, “This was purely a professional relationship,” but we document [that their relationship] extended to secretly recording people who might be used to impeach Harvey Weinstein’s accusers, really going after accusers in collaboration with Harvey Weinstein.\u003c/p>\n\u003cp>\u003cstrong>On AMI’s kill file on Donald Trump \u003c/strong>\u003c/p>\n\u003cp>AMI did indeed purchase the rights to [\u003cem>Playboy \u003c/em>model] Karen McDougal’s story in order to bury it. Another story that I broke … is about a case in which they purchased the rights to a claim by a Trump Tower doorman that he was aware of a relationship Trump had had that had produced a “love child.” …\u003c/p>\n\u003cp>Like many of these catch-and-kill stories, it’s unclear whether the underlying claim has any veracity. The love child story … may or may not be spurious, and also on some level, who cares, right? … The thing that is absolutely worth caring about is the transaction, the fact that there was a potential violation of campaign finance law here and a media outlet acting as an arm of a political candidate. Here again there is an example of collaboration between the candidate and the news outlet, \u003cem>The National Enquirer, \u003c/em>to try to go after a story, and here again, the underlying claim in that lawsuit raises a lot of question marks. … But the fact that AMI went after it has not been disputed by them—they’ve confirmed it—and is yet another interesting data point in this unfolding saga which is still a subject of serious criminal investigation.\u003c/p>\n\u003cp>\u003cstrong>On Trump’s personal lawyer \u003c/strong>\u003ca href=\"https://www.npr.org/2019/02/27/696752450/michael-cohen-to-testify-publicly-before-congress-on-alleged-trump-lawbreaking\">\u003cstrong>Michael Cohen\u003c/strong>\u003c/a>\u003cstrong> going to the \u003c/strong>\u003cem>\u003cstrong>Enquirer \u003c/strong>\u003c/em>\u003cstrong>and requesting the kill file \u003c/strong>\u003c/p>\n\u003cp>I talk about for the first time seeing the master list of all of the Trump dirt, if you will, that AMI had in its vaults. Early in 2016 … the \u003cem>National Enquirer\u003c/em> and Dylan Howard created a master list of everything that they had on Trump. And again, you’ll sense a running theme here. The story here is not what was on the list we saw. It’s about 60 entries and this is the first time a reporter has seen the insides of the vault, if you will. It is mostly news that has already been out there. There’s about five affairs—some of those haven’t become public—but consensual affairs-type items. There’s at least one allegation of abuse, but it’s the \u003ca href=\"https://www.npr.org/2016/10/13/497799354/a-list-of-donald-trumps-accusers-of-inappropriate-sexual-conduct\">Jill Harth \u003c/a>allegation, which ultimately did become public. But what is a significant story is that this list was made and we have a multiple-sourced account backed by documentation of \u003cem>National Enquirer\u003c/em> leadership beginning to shred documents related to Trump in the days before the election—and this is strenuously denied by Dylan Howard. We have that denial in the book, but there are ironclad accounts of him ordering a destruction of documents and, a year later—when a senior official at the\u003cem> National Enquirer \u003c/em>went to check whether all of the Trump dirt still existed in the vault—there were documents that were missing consistent with that account of document destruction.\u003c/p>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003cem>\u003cstrong>Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s endorsement of candidate Trump \u003c/strong>\u003c/p>\n\u003cp>Throughout the election, the\u003cem> Enquirer, \u003c/em>as it was seeking to catch and kill stories for Trump, was also sort of descending farther and farther into this rabbit hole of endorsing Trump and really hammering on Hillary Clinton. … For the whole year she was about to die, according to the \u003cem>National Enquirer. \u003c/em>And I think that a lot of us in the press discounted the significance of that. We weren’t conscious of all of this real estate on checkout stands at grocery stores all around the country being devoted to pushing one candidate. And that’s where the criminal investigation and the nonprosecution agreement signed between AMI and prosecutors is significant, because it acknowledges that something quite possibly illegal and quite possibly material to the election and the future of this country played out. The stakes … are very high, both for the individuals involved and for the future of our democracy. We had an election that was very much, I think, affected by this practice of catch and kill.\u003c/p>\n\u003cp>\u003cstrong>On what AMI got in return for killing unflattering stories about Trump \u003c/strong>\u003c/p>\n\u003cp>They have now admitted that there was a quid pro quo and that there were meetings in which a deal was struck to collaborate in this way. … You saw things like [AMI CEO] \u003ca href=\"https://www.npr.org/2018/08/24/641490961/david-pecker-of-national-enquirer-publisher-said-to-have-immunity-in-cohen-case\">David Pecker \u003c/a>getting a lot of access to the White House, suddenly getting a lot of access to potential Saudi donors at a time when the\u003cem> Enquirer\u003c/em> was on its last legs and suffering from declining circulation numbers and a lot of debt. So we’re very careful not to say anything speculative, but certainly there are ways in which David Pecker, the head of the\u003cem> National Enquirer, \u003c/em>the head of AMI and others at the\u003cem> Enquirer\u003c/em> benefited from this. And we talk about Dylan Howard … the editor of the\u003cem> National Enquirer,\u003c/em> who worked under David Pecker, sending friends pictures from inaugural events, really having access and being in the corridors of power. So there was an exchange of access and largesse for killing these stories, it appears.\u003c/p>\n\u003cp>\u003cstrong>On the\u003c/strong>\u003cem>\u003cstrong> Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s attempts to discredit Farrow \u003c/strong>\u003c/p>\n\u003cp>As I began to break these stories about the\u003cem> National Enquirer\u003c/em> I, too, became in Dylan Howard’s words, “\u003cem>National Enquirer\u003c/em> fodder,” and he sent a letter to [\u003cem>New Yorker\u003c/em> Editor] David Remnick, very furiously railing against me and saying, “Ronan is about to become \u003cem>National Enquirer\u003c/em> fodder,” and indeed I did. For a brief shining moment, Terry, I was an all-caps sans serif villain in the pages of the\u003cem> National Enquirer,\u003c/em> and I joke about it, but it is actually painful and intrusive and an ugly business to have an outlet that is essentially a thinly veiled attack dog for powerful people come at you and say, you better come in and talk or we’re going to just unleash whatever we want to make up or dig up about you, and with the\u003cem> Enquirer \u003c/em>it’s usually a lot of both.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I personally reported a number of stories about cases in which AMI sought or actually did buy the rights to a story in order to get rid of it during the election, and that subsequently has become the subject of a serious criminal investigation,” Farrow says.\u003c/p>\n\u003cp>He adds that the practice of catch and kill is “used both literally in the plot with respect to several stories that AMI goes after and tries to bury for Donald Trump and others, but also figuratively about the media’s role in sometimes not just advancing, but also suppressing, stories.”\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the backlash he has experienced because of the book \u003c/strong>\u003c/p>\n\u003cp>Doing these kinds of investigations of powerful interests means that you get a whole smear machine spun up against you every single time. It happened on the Weinstein story; it happened on the CBS story; it happened on the NBC story; it happened on the AMI story. And all I can say is I’ve been immensely heartened, Terry, by the way in which fellow reporters have rallied around the journalism in this book and defended it and independently corroborated it. And the reaction has been pretty uniform.\u003c/p>\n\u003cp>Just like with the Harvey Weinstein story, I think people have seen through the spin and I think that they have correctly pulled out of this book the important themes which is there are systems still in place at some of the top institutions in this country that aid and abet and protect people accused of serious crimes and silence accusers and shut down reporting. But there are also really brave sources who continue to speak and reporters who continue to bang their heads against the wall trying to make sure the truth comes out. And I leave this process of reporting this book with immense hope and immense optimism, because I don’t see any signs of that stopping.\u003c/p>\n\u003cp>\u003cstrong>On how AMI’s catch-and-kill efforts relate to the Weinstein story\u003c/strong>\u003c/p>\n\u003cp>[AMI] had what’s called a “kill file,” which they have for various celebrities containing all of the dirt that they haven’t published on someone. … There’s various reasons why AMI doesn’t publish things. … In a number of cases they don’t publish things because of an arrangement they broker with a powerful person. … [Chief Content Officer and Vice President] Dylan Howard develops a very close relationship with Harvey Weinstein. We have all of his statements saying, “This was purely a professional relationship,” but we document [that their relationship] extended to secretly recording people who might be used to impeach Harvey Weinstein’s accusers, really going after accusers in collaboration with Harvey Weinstein.\u003c/p>\n\u003cp>\u003cstrong>On AMI’s kill file on Donald Trump \u003c/strong>\u003c/p>\n\u003cp>AMI did indeed purchase the rights to [\u003cem>Playboy \u003c/em>model] Karen McDougal’s story in order to bury it. Another story that I broke … is about a case in which they purchased the rights to a claim by a Trump Tower doorman that he was aware of a relationship Trump had had that had produced a “love child.” …\u003c/p>\n\u003cp>Like many of these catch-and-kill stories, it’s unclear whether the underlying claim has any veracity. The love child story … may or may not be spurious, and also on some level, who cares, right? … The thing that is absolutely worth caring about is the transaction, the fact that there was a potential violation of campaign finance law here and a media outlet acting as an arm of a political candidate. Here again there is an example of collaboration between the candidate and the news outlet, \u003cem>The National Enquirer, \u003c/em>to try to go after a story, and here again, the underlying claim in that lawsuit raises a lot of question marks. … But the fact that AMI went after it has not been disputed by them—they’ve confirmed it—and is yet another interesting data point in this unfolding saga which is still a subject of serious criminal investigation.\u003c/p>\n\u003cp>\u003cstrong>On Trump’s personal lawyer \u003c/strong>\u003ca href=\"https://www.npr.org/2019/02/27/696752450/michael-cohen-to-testify-publicly-before-congress-on-alleged-trump-lawbreaking\">\u003cstrong>Michael Cohen\u003c/strong>\u003c/a>\u003cstrong> going to the \u003c/strong>\u003cem>\u003cstrong>Enquirer \u003c/strong>\u003c/em>\u003cstrong>and requesting the kill file \u003c/strong>\u003c/p>\n\u003cp>I talk about for the first time seeing the master list of all of the Trump dirt, if you will, that AMI had in its vaults. Early in 2016 … the \u003cem>National Enquirer\u003c/em> and Dylan Howard created a master list of everything that they had on Trump. And again, you’ll sense a running theme here. The story here is not what was on the list we saw. It’s about 60 entries and this is the first time a reporter has seen the insides of the vault, if you will. It is mostly news that has already been out there. There’s about five affairs—some of those haven’t become public—but consensual affairs-type items. There’s at least one allegation of abuse, but it’s the \u003ca href=\"https://www.npr.org/2016/10/13/497799354/a-list-of-donald-trumps-accusers-of-inappropriate-sexual-conduct\">Jill Harth \u003c/a>allegation, which ultimately did become public. But what is a significant story is that this list was made and we have a multiple-sourced account backed by documentation of \u003cem>National Enquirer\u003c/em> leadership beginning to shred documents related to Trump in the days before the election—and this is strenuously denied by Dylan Howard. We have that denial in the book, but there are ironclad accounts of him ordering a destruction of documents and, a year later—when a senior official at the\u003cem> National Enquirer \u003c/em>went to check whether all of the Trump dirt still existed in the vault—there were documents that were missing consistent with that account of document destruction.\u003c/p>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003cem>\u003cstrong>Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s endorsement of candidate Trump \u003c/strong>\u003c/p>\n\u003cp>Throughout the election, the\u003cem> Enquirer, \u003c/em>as it was seeking to catch and kill stories for Trump, was also sort of descending farther and farther into this rabbit hole of endorsing Trump and really hammering on Hillary Clinton. … For the whole year she was about to die, according to the \u003cem>National Enquirer. \u003c/em>And I think that a lot of us in the press discounted the significance of that. We weren’t conscious of all of this real estate on checkout stands at grocery stores all around the country being devoted to pushing one candidate. And that’s where the criminal investigation and the nonprosecution agreement signed between AMI and prosecutors is significant, because it acknowledges that something quite possibly illegal and quite possibly material to the election and the future of this country played out. The stakes … are very high, both for the individuals involved and for the future of our democracy. We had an election that was very much, I think, affected by this practice of catch and kill.\u003c/p>\n\u003cp>\u003cstrong>On what AMI got in return for killing unflattering stories about Trump \u003c/strong>\u003c/p>\n\u003cp>They have now admitted that there was a quid pro quo and that there were meetings in which a deal was struck to collaborate in this way. … You saw things like [AMI CEO] \u003ca href=\"https://www.npr.org/2018/08/24/641490961/david-pecker-of-national-enquirer-publisher-said-to-have-immunity-in-cohen-case\">David Pecker \u003c/a>getting a lot of access to the White House, suddenly getting a lot of access to potential Saudi donors at a time when the\u003cem> Enquirer\u003c/em> was on its last legs and suffering from declining circulation numbers and a lot of debt. So we’re very careful not to say anything speculative, but certainly there are ways in which David Pecker, the head of the\u003cem> National Enquirer, \u003c/em>the head of AMI and others at the\u003cem> Enquirer\u003c/em> benefited from this. And we talk about Dylan Howard … the editor of the\u003cem> National Enquirer,\u003c/em> who worked under David Pecker, sending friends pictures from inaugural events, really having access and being in the corridors of power. So there was an exchange of access and largesse for killing these stories, it appears.\u003c/p>\n\u003cp>\u003cstrong>On the\u003c/strong>\u003cem>\u003cstrong> Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s attempts to discredit Farrow \u003c/strong>\u003c/p>\n\u003cp>As I began to break these stories about the\u003cem> National Enquirer\u003c/em> I, too, became in Dylan Howard’s words, “\u003cem>National Enquirer\u003c/em> fodder,” and he sent a letter to [\u003cem>New Yorker\u003c/em> Editor] David Remnick, very furiously railing against me and saying, “Ronan is about to become \u003cem>National Enquirer\u003c/em> fodder,” and indeed I did. For a brief shining moment, Terry, I was an all-caps sans serif villain in the pages of the\u003cem> National Enquirer,\u003c/em> and I joke about it, but it is actually painful and intrusive and an ugly business to have an outlet that is essentially a thinly veiled attack dog for powerful people come at you and say, you better come in and talk or we’re going to just unleash whatever we want to make up or dig up about you, and with the\u003cem> Enquirer \u003c/em>it’s usually a lot of both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ronan+Farrow%3A+%27Catch+And+Kill%27+Tactics+Protected+Both+Weinstein+And+Trump+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pharrell Now Freely Admits That 'Blurred Lines' Was Chauvinistic",
"headTitle": "Pharrell Now Freely Admits That ‘Blurred Lines’ Was Chauvinistic | KQED",
"content": "\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yyDUC1LUXSU\u003c/p>\n\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n",
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"excerpt": "Pharrell understands that \"Blurred Lines\" was an example of misogyny—and he isn't afraid to admit it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\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/yyDUC1LUXSU'\n title='//www.youtube.com/embed/yyDUC1LUXSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prince's Estate Condemns Trump's Use Of 'Purple Rain' At Campaign Rally",
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"content": "\u003cp>Among all the other things that transpired \u003ca href=\"https://www.mprnews.org/story/2019/10/10/trump-aims-to-turn-impeachment-probe-into-campaign-asset-at-minneapolis-rally\">at\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/09/768697916/trump-faces-protests-in-minneapolis-during-his-campaign-rally\">around\u003c/a> President Trump’s reelection campaign in Minneapolis Thursday night, his team played the music of a hometown hero: Prince’s “Purple Rain.” Soon after, the estate of Minnesota’s late musical hero made it clear just how unhappy it was — and \u003ca href=\"https://twitter.com/prince/status/1182484599781416960?s=20\">shared\u003c/a> a letter from Trump’s legal team from a year ago, in which the campaign explicitly promised not to use Prince’s music.\u003c/p>\n\u003cp>Politicians soundtracking – or co-opting, depending on your point of view — famous songs is a familiar conundrum for artists. Candidates want well-known, usually mood-boosting hits to get the crowd going. (One notable exception: the rather doleful “You Can’t Always Get What You Want” by the Rolling Stones, which was a favorite for then-candidate Donald J. Trump in 2016.)\u003c/p>\n\u003cp>https://twitter.com/prince/status/1182484599781416960\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>As long as they pay for the rights to the songs, candidates in the U.S. are \u003ca href=\"https://www.npr.org/sections/therecord/2016/07/22/487022287/cleveland-rocked-music-at-the-republican-national-convention\">generally\u003c/a> legally free to use any music they like, no matter how at odds the artists’ own politics may be from those on the campaign trail. (During his remarks at Minneapolis’ Target Center Thursday night, Trump \u003ca href=\"https://www.youtube.com/watch?time_continue=15&v=Kh3ZB_oX9cY\">said\u003c/a>: “I didn’t need Beyoncé and Jay-Z, and I didn’t need little Bruce Springsteen” to secure his 2016 electoral victory.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Melinda Newman \u003ca href=\"https://www.forbes.com/sites/melindanewman/2016/07/19/why-queen-cannot-stop-trumps-use-of-we-are-the-champions/#5d02a6386d4b\">observed\u003c/a> in \u003cem>Forbes\u003c/em> in July 2016, “The sad truth is for many artists, they cannot keep their songs from being used in this context even if they vehemently disagree with the politician who is using the song.” The only restrictions relate to political commercials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the Prince estate might stand in a different position, due to a letter from the Trump campaign it posted to Twitter on Thursday night, and as of publication has been retweeted 28,000 times. Dated October 15, 2018, and written by the law firm Jones Day on behalf of the president’s reelection campaign, the Trump team specifically says that “going forward,” the campaign will not use any of Prince’s music at Trump rallies and other campaign events, after the estate requested it. (However, it does not stipulate how long such an agreement might last.) Given that, it looks like this situation will be one for the lawyers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"title": "Prince's Estate Condemns Trump's Use Of 'Purple Rain' At Campaign Rally | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Among all the other things that transpired \u003ca href=\"https://www.mprnews.org/story/2019/10/10/trump-aims-to-turn-impeachment-probe-into-campaign-asset-at-minneapolis-rally\">at\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/09/768697916/trump-faces-protests-in-minneapolis-during-his-campaign-rally\">around\u003c/a> President Trump’s reelection campaign in Minneapolis Thursday night, his team played the music of a hometown hero: Prince’s “Purple Rain.” Soon after, the estate of Minnesota’s late musical hero made it clear just how unhappy it was — and \u003ca href=\"https://twitter.com/prince/status/1182484599781416960?s=20\">shared\u003c/a> a letter from Trump’s legal team from a year ago, in which the campaign explicitly promised not to use Prince’s music.\u003c/p>\n\u003cp>Politicians soundtracking – or co-opting, depending on your point of view — famous songs is a familiar conundrum for artists. Candidates want well-known, usually mood-boosting hits to get the crowd going. (One notable exception: the rather doleful “You Can’t Always Get What You Want” by the Rolling Stones, which was a favorite for then-candidate Donald J. Trump in 2016.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>As long as they pay for the rights to the songs, candidates in the U.S. are \u003ca href=\"https://www.npr.org/sections/therecord/2016/07/22/487022287/cleveland-rocked-music-at-the-republican-national-convention\">generally\u003c/a> legally free to use any music they like, no matter how at odds the artists’ own politics may be from those on the campaign trail. (During his remarks at Minneapolis’ Target Center Thursday night, Trump \u003ca href=\"https://www.youtube.com/watch?time_continue=15&v=Kh3ZB_oX9cY\">said\u003c/a>: “I didn’t need Beyoncé and Jay-Z, and I didn’t need little Bruce Springsteen” to secure his 2016 electoral victory.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Melinda Newman \u003ca href=\"https://www.forbes.com/sites/melindanewman/2016/07/19/why-queen-cannot-stop-trumps-use-of-we-are-the-champions/#5d02a6386d4b\">observed\u003c/a> in \u003cem>Forbes\u003c/em> in July 2016, “The sad truth is for many artists, they cannot keep their songs from being used in this context even if they vehemently disagree with the politician who is using the song.” The only restrictions relate to political commercials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the Prince estate might stand in a different position, due to a letter from the Trump campaign it posted to Twitter on Thursday night, and as of publication has been retweeted 28,000 times. Dated October 15, 2018, and written by the law firm Jones Day on behalf of the president’s reelection campaign, the Trump team specifically says that “going forward,” the campaign will not use any of Prince’s music at Trump rallies and other campaign events, after the estate requested it. (However, it does not stipulate how long such an agreement might last.) Given that, it looks like this situation will be one for the lawyers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T2e7e2Hpb7I\u003c/p>\n\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=inoeW5BZJvg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xRogpFFytU8\u003c/p>\n\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKCdV20zLMs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\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/T2e7e2Hpb7I'\n title='//www.youtube.com/embed/T2e7e2Hpb7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\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/inoeW5BZJvg'\n title='//www.youtube.com/embed/inoeW5BZJvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\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/xRogpFFytU8'\n title='//www.youtube.com/embed/xRogpFFytU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\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/dKCdV20zLMs'\n title='//www.youtube.com/embed/dKCdV20zLMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "O Come, All Ye Faithful, to the Church of Nick Offerman",
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"content": "\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The actor and comic talks with KQED about political comedy, his wife's brilliant mind, and, of course, the enduring appeal of Ron Swanson.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Not Just 'Joker': America's Been Ignoring Gary Glitter's Pedophilia For Years",
"headTitle": "Not Just ‘Joker’: America’s Been Ignoring Gary Glitter’s Pedophilia For Years | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: According to the \u003c/em>\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Times\u003c/a>\u003cem>, an unnamed spokesman at Gary Glitter’s label in London asserts that “\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Glitter does not get paid\u003c/a>” for the use of “Rock and Roll Part 2,” reporting that Glitter sold his publishing rights to the song over 20 years ago. This article’s text has been amended to reflect that.\u003c/em>\u003c/p>\n\u003cp>There’s a scene in Todd Phillips’ controversial new \u003cem>Joker\u003c/em> movie in which Joaquin Phoenix’s tortured lead is finally fully transformed from outcast Arthur Fleck into the dangerously bombastic Joker. As he embraces his new role, he is seen dancing down some stairs to the sounds of 1972’s “\u003ca href=\"https://www.youtube.com/watch?v=8OJ01psE6wc\" target=\"_blank\" rel=\"noopener noreferrer\">Rock & Roll Part 2\u003c/a>” by Gary Glitter—and it’s created a furor. (Well, on top of the one that already existed, about centering a movie on a murderous protagonist who gets that way via social rejection.)\u003c/p>\n\u003cp>It’s not for nothing. Glitter, a British glam rocker who found fame with outrageous clothes and catchy songs in the ’70s and early ’80s, is a pariah in his home country, thanks to his status as a \u003ca href=\"https://www.bbc.com/news/uk-31657929\" target=\"_blank\" rel=\"noopener noreferrer\">convicted pedophile and unapologetic\u003c/a> sexual abuser. Glitter’s rap sheet is long and horrifying. In 1999, he was placed on Britain’s sex offender register and sentenced to four months in prison after 4,000 images of child pornography (some featuring children \u003ca href=\"https://www.bbc.com/news/uk-31015347\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 6\u003c/a>) were discovered on his laptop.\u003c/p>\n\u003cp>After his release, he fled to Cambodia where he was eventually \u003ca href=\"https://www.theguardian.com/uk/2003/jan/08/childprotection.children\" target=\"_blank\" rel=\"noopener noreferrer\">deported for sex tourism\u003c/a>. In 2005 and 2006, he came to the attention of Vietnamese police after preying on \u003ca href=\"https://www.theguardian.com/world/2006/mar/03/ukcrime.uk\" target=\"_blank\" rel=\"noopener noreferrer\">multiple young girls\u003c/a>, including children as young as 10 and 11-years old, and a 15-year-old who was said to be living with him. He served three years in Thủ Đức Prison, was barred from \u003ca href=\"https://www.telegraph.co.uk/news/newstopics/garyglitter/3103578/Glitter-banned-from-France-and-Spain.html\" target=\"_blank\" rel=\"noopener noreferrer\">at least 19 countries\u003c/a>, including the Philippines, Cuba, Cambodia and Thailand, and was subsequently \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/2573385/Gary-Glitter-to-be-deported-to-Britain-on-Tuesday.html\" target=\"_blank\" rel=\"noopener noreferrer\">deported to the U.K.\u003c/a> in 2008.\u003c/p>\n\u003cp>During 2014 and 2015, as part of a \u003ca href=\"https://en.wikipedia.org/wiki/Operation_Yewtree\" target=\"_blank\" rel=\"noopener noreferrer\">sweeping investigation\u003c/a> that brought down a wealth of prominent TV, radio and music personalities in the U.K., Glitter was charged with a multitude of sexual offenses relating to multiple children \u003ca href=\"https://www.theguardian.com/uk-news/2015/feb/05/gary-glitter-guilty-child-sex-offences\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 14\u003c/a> (one of whom was 8). He is currently serving 16 years in prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of all the songs in all the world that Joker could have used for this scene, there is surely no justification in choosing one by this particular monster. There are plenty of stompy old rock ‘n’ roll hits, similar in genre to “Rock and Roll Part 2,” that aren’t going to raise the profile of a pedophile.\u003c/p>\n\u003cp>In truth though, the movie is just one in a long line of American products that have actively ignored the crimes of Gary Glitter. In 2006, \u003ca href=\"https://www.youtube.com/watch?v=UhF8JKHAZuA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Office\u003c/em> featured\u003c/a> “Rock & Roll Part 2” in an episode. In 2004, \u003cem>Meet the Fockers\u003c/em> used it during a \u003ca href=\"https://www.youtube.com/watch?v=flqu8TAROss\" target=\"_blank\" rel=\"noopener noreferrer\">football-related scene\u003c/a>. In 2012, \u003cem>Silver Linings Playbook\u003c/em> included it in a \u003ca href=\"https://www.youtube.com/watch?time_continue=31&v=kAvh8NeUlHo\" target=\"_blank\" rel=\"noopener noreferrer\">movie trailer\u003c/a> that was in heavy rotation on television. The choice to put the track in those last two was probably related to sports sub-plots—before \u003cem>Joker\u003c/em>, “Rock & Roll Part 2” was best known for being in heavy rotation at sporting events around the country.\u003c/p>\n\u003cp>Most commonly referred to as “The Hey Song” by sports fans, the track started \u003ca href=\"https://www.youtube.com/watch?v=2gdi7B7NKr4\" target=\"_blank\" rel=\"noopener noreferrer\">its sporting life\u003c/a> in hockey, when in 1974, Michigan’s Kalamazoo Wings began using it as a soundtrack to their arrival on the ice. When the team’s marketing director Kevin O’Brien moved to the NHL, he took the song with him to the Colorado Rockies, and it promptly became a staple across Denver sports. The Chicago Bulls adopted the track in the ’90s and it quickly spread to stadiums around the country.\u003c/p>\n\u003cp>While the NFL banned the use of the track at \u003ca href=\"https://www.nj.com/parenting/2012/02/gary_glitter_song_banned_from.html\" target=\"_blank\" rel=\"noopener noreferrer\">2012’s Super Bowl\u003c/a> as a direct result of Glitter-related controversies, the NHL and minor leagues continue to use it, and the NBA and MLB have yet to enforce official bans. In fact, the track is now so ingrained in American life, even the Democratic National Convention \u003ca href=\"https://www.spin.com/2012/09/democrats-inexplicably-play-child-molester-gary-glitter-at-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">played it in 2012\u003c/a>.\u003c/p>\n\u003cp>America’s ability to ignore Glitter’s crimes becomes even more shocking when one considers the behavior of usually outspoken feminist Joan Jett. Jett continues to perform her 1981 single “Do You Wanna Touch Me (Oh Yeah)” despite the fact that it was originally written and released by Glitter in 1973.\u003c/p>\n\u003cp>Here she is performing it earlier this year in Australia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nbjbrsirs4M\u003c/p>\n\u003cp>Jett has kept that song alive and, according to a \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/3277806/Gary-Glitter-to-get-100000-royalties-for-song-used-in-Hewlett-Packard-advert.html\" target=\"_blank\" rel=\"noopener noreferrer\">2008 report in \u003cem>The Telegraph\u003c/em>\u003c/a>, Glitter has profited. After Hewlett Packard used Jett’s version in \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=UR830Os72k0\" target=\"_blank\" rel=\"noopener noreferrer\">a commercial\u003c/a> that year, Glitter reportedly earned up to $122,000 (£100,000). The computer company only \u003ca href=\"https://www.upi.com/Entertainment_News/2008/11/11/HP-yanks-commercial-with-Gary-Glitter-song/25011226432244/\" target=\"_blank\" rel=\"noopener noreferrer\">pulled the commercial\u003c/a> after receiving multiple complaints, including one from the editor of \u003ca href=\"https://www.abusewatch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">AbuseWatch.net\u003c/a>, Evin Daly. That didn’t stop Gwyneth Paltrow and the cast of \u003cem>Glee\u003c/em> from doing \u003ca href=\"https://www.youtube.com/watch?v=a3aMRxHS0sY\" target=\"_blank\" rel=\"noopener noreferrer\">a cover of the song\u003c/a> on the show in 2011.\u003c/p>\n\u003cp>The discussion around how and when we can separate art from disgraced artists is complex and ongoing—especially in the age of #MeToo. For every discussion that arises about another abusive musician, there are ten people waiting in the wings to remind you that \u003ca href=\"https://www.thrillist.com/entertainment/nation/i-lost-my-virginity-to-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a>, \u003ca href=\"https://www.thedailybeast.com/led-zeppelins-controversial-legacy-thievery-underage-groupies-and-the-mud-shark-incident\" target=\"_blank\" rel=\"noopener noreferrer\">Led Zeppelin\u003c/a>, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/rolling-stones-bill-wyman-contacted-1795749\" target=\"_blank\" rel=\"noopener noreferrer\">The Rolling Stones\u003c/a>, Aerosmith’s \u003ca href=\"http://www.feelnumb.com/2011/01/22/steven-tyler-once-had-14-year-old-girlfriend-that-her-parents-signed-over-to-him/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Tyler\u003c/a> and Red Hot Chili Peppers’ \u003ca href=\"https://www.disasterserum.com/your-favorite-rockstar-is-probably-a-creep\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Kiedis\u003c/a> all had sex with underage girls. And for those ten people, there are another 20 who want to tell you that all of those statutory rapes happened during a “different time,” and with fans that have, at least \u003ca href=\"https://jezebel.com/what-should-we-say-about-david-bowie-and-lori-maddox-1754533894\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes\u003c/a>, expressed no regrets about what happened.\u003c/p>\n\u003cp>The question remains: why risk potentially rewarding someone this grotesque? If there is one place we should all be able to agree, it’s on the fact that Gary Glitter is the worst kind of long-term predatory pedophile, one who has traveled around the world specifically in pursuit of his illegal sexual predilection, completely undeterred by either prison time or public shaming.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While complaining about Glitter no doubt plays into \u003cem>Joker\u003c/em>‘s twisted marketing strategy, if anything positive is to come from this particular soundtrack choice, we should see it as a chance to recognize just how badly America needs to erase this kind of artist from the public consciousness. Cancel culture is supposed to be in full swing, but if we as a nation can’t even say no to the musical output of a criminal as heinous as Gary Glitter, how will we ever begin to address the ethics of more complex situations?\u003c/p>\n\n",
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"excerpt": "The ongoing use of Gary Glitter's music on soundtracks and commercials in American is proof that so-called \"Cancel Culture\" doesn't actually exist. ",
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"description": "The ongoing use of Gary Glitter's music on soundtracks and commercials in American is proof that so-called "Cancel Culture" doesn't actually exist. ",
"title": "Not Just 'Joker': America's Been Ignoring Gary Glitter's Pedophilia For Years | KQED",
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"headline": "Not Just 'Joker': America's Been Ignoring Gary Glitter's Pedophilia For Years",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: According to the \u003c/em>\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Times\u003c/a>\u003cem>, an unnamed spokesman at Gary Glitter’s label in London asserts that “\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Glitter does not get paid\u003c/a>” for the use of “Rock and Roll Part 2,” reporting that Glitter sold his publishing rights to the song over 20 years ago. This article’s text has been amended to reflect that.\u003c/em>\u003c/p>\n\u003cp>There’s a scene in Todd Phillips’ controversial new \u003cem>Joker\u003c/em> movie in which Joaquin Phoenix’s tortured lead is finally fully transformed from outcast Arthur Fleck into the dangerously bombastic Joker. As he embraces his new role, he is seen dancing down some stairs to the sounds of 1972’s “\u003ca href=\"https://www.youtube.com/watch?v=8OJ01psE6wc\" target=\"_blank\" rel=\"noopener noreferrer\">Rock & Roll Part 2\u003c/a>” by Gary Glitter—and it’s created a furor. (Well, on top of the one that already existed, about centering a movie on a murderous protagonist who gets that way via social rejection.)\u003c/p>\n\u003cp>It’s not for nothing. Glitter, a British glam rocker who found fame with outrageous clothes and catchy songs in the ’70s and early ’80s, is a pariah in his home country, thanks to his status as a \u003ca href=\"https://www.bbc.com/news/uk-31657929\" target=\"_blank\" rel=\"noopener noreferrer\">convicted pedophile and unapologetic\u003c/a> sexual abuser. Glitter’s rap sheet is long and horrifying. In 1999, he was placed on Britain’s sex offender register and sentenced to four months in prison after 4,000 images of child pornography (some featuring children \u003ca href=\"https://www.bbc.com/news/uk-31015347\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 6\u003c/a>) were discovered on his laptop.\u003c/p>\n\u003cp>After his release, he fled to Cambodia where he was eventually \u003ca href=\"https://www.theguardian.com/uk/2003/jan/08/childprotection.children\" target=\"_blank\" rel=\"noopener noreferrer\">deported for sex tourism\u003c/a>. In 2005 and 2006, he came to the attention of Vietnamese police after preying on \u003ca href=\"https://www.theguardian.com/world/2006/mar/03/ukcrime.uk\" target=\"_blank\" rel=\"noopener noreferrer\">multiple young girls\u003c/a>, including children as young as 10 and 11-years old, and a 15-year-old who was said to be living with him. He served three years in Thủ Đức Prison, was barred from \u003ca href=\"https://www.telegraph.co.uk/news/newstopics/garyglitter/3103578/Glitter-banned-from-France-and-Spain.html\" target=\"_blank\" rel=\"noopener noreferrer\">at least 19 countries\u003c/a>, including the Philippines, Cuba, Cambodia and Thailand, and was subsequently \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/2573385/Gary-Glitter-to-be-deported-to-Britain-on-Tuesday.html\" target=\"_blank\" rel=\"noopener noreferrer\">deported to the U.K.\u003c/a> in 2008.\u003c/p>\n\u003cp>During 2014 and 2015, as part of a \u003ca href=\"https://en.wikipedia.org/wiki/Operation_Yewtree\" target=\"_blank\" rel=\"noopener noreferrer\">sweeping investigation\u003c/a> that brought down a wealth of prominent TV, radio and music personalities in the U.K., Glitter was charged with a multitude of sexual offenses relating to multiple children \u003ca href=\"https://www.theguardian.com/uk-news/2015/feb/05/gary-glitter-guilty-child-sex-offences\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 14\u003c/a> (one of whom was 8). He is currently serving 16 years in prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of all the songs in all the world that Joker could have used for this scene, there is surely no justification in choosing one by this particular monster. There are plenty of stompy old rock ‘n’ roll hits, similar in genre to “Rock and Roll Part 2,” that aren’t going to raise the profile of a pedophile.\u003c/p>\n\u003cp>In truth though, the movie is just one in a long line of American products that have actively ignored the crimes of Gary Glitter. In 2006, \u003ca href=\"https://www.youtube.com/watch?v=UhF8JKHAZuA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Office\u003c/em> featured\u003c/a> “Rock & Roll Part 2” in an episode. In 2004, \u003cem>Meet the Fockers\u003c/em> used it during a \u003ca href=\"https://www.youtube.com/watch?v=flqu8TAROss\" target=\"_blank\" rel=\"noopener noreferrer\">football-related scene\u003c/a>. In 2012, \u003cem>Silver Linings Playbook\u003c/em> included it in a \u003ca href=\"https://www.youtube.com/watch?time_continue=31&v=kAvh8NeUlHo\" target=\"_blank\" rel=\"noopener noreferrer\">movie trailer\u003c/a> that was in heavy rotation on television. The choice to put the track in those last two was probably related to sports sub-plots—before \u003cem>Joker\u003c/em>, “Rock & Roll Part 2” was best known for being in heavy rotation at sporting events around the country.\u003c/p>\n\u003cp>Most commonly referred to as “The Hey Song” by sports fans, the track started \u003ca href=\"https://www.youtube.com/watch?v=2gdi7B7NKr4\" target=\"_blank\" rel=\"noopener noreferrer\">its sporting life\u003c/a> in hockey, when in 1974, Michigan’s Kalamazoo Wings began using it as a soundtrack to their arrival on the ice. When the team’s marketing director Kevin O’Brien moved to the NHL, he took the song with him to the Colorado Rockies, and it promptly became a staple across Denver sports. The Chicago Bulls adopted the track in the ’90s and it quickly spread to stadiums around the country.\u003c/p>\n\u003cp>While the NFL banned the use of the track at \u003ca href=\"https://www.nj.com/parenting/2012/02/gary_glitter_song_banned_from.html\" target=\"_blank\" rel=\"noopener noreferrer\">2012’s Super Bowl\u003c/a> as a direct result of Glitter-related controversies, the NHL and minor leagues continue to use it, and the NBA and MLB have yet to enforce official bans. In fact, the track is now so ingrained in American life, even the Democratic National Convention \u003ca href=\"https://www.spin.com/2012/09/democrats-inexplicably-play-child-molester-gary-glitter-at-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">played it in 2012\u003c/a>.\u003c/p>\n\u003cp>America’s ability to ignore Glitter’s crimes becomes even more shocking when one considers the behavior of usually outspoken feminist Joan Jett. Jett continues to perform her 1981 single “Do You Wanna Touch Me (Oh Yeah)” despite the fact that it was originally written and released by Glitter in 1973.\u003c/p>\n\u003cp>Here she is performing it earlier this year in Australia:\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/nbjbrsirs4M'\n title='//www.youtube.com/embed/nbjbrsirs4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jett has kept that song alive and, according to a \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/3277806/Gary-Glitter-to-get-100000-royalties-for-song-used-in-Hewlett-Packard-advert.html\" target=\"_blank\" rel=\"noopener noreferrer\">2008 report in \u003cem>The Telegraph\u003c/em>\u003c/a>, Glitter has profited. After Hewlett Packard used Jett’s version in \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=UR830Os72k0\" target=\"_blank\" rel=\"noopener noreferrer\">a commercial\u003c/a> that year, Glitter reportedly earned up to $122,000 (£100,000). The computer company only \u003ca href=\"https://www.upi.com/Entertainment_News/2008/11/11/HP-yanks-commercial-with-Gary-Glitter-song/25011226432244/\" target=\"_blank\" rel=\"noopener noreferrer\">pulled the commercial\u003c/a> after receiving multiple complaints, including one from the editor of \u003ca href=\"https://www.abusewatch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">AbuseWatch.net\u003c/a>, Evin Daly. That didn’t stop Gwyneth Paltrow and the cast of \u003cem>Glee\u003c/em> from doing \u003ca href=\"https://www.youtube.com/watch?v=a3aMRxHS0sY\" target=\"_blank\" rel=\"noopener noreferrer\">a cover of the song\u003c/a> on the show in 2011.\u003c/p>\n\u003cp>The discussion around how and when we can separate art from disgraced artists is complex and ongoing—especially in the age of #MeToo. For every discussion that arises about another abusive musician, there are ten people waiting in the wings to remind you that \u003ca href=\"https://www.thrillist.com/entertainment/nation/i-lost-my-virginity-to-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a>, \u003ca href=\"https://www.thedailybeast.com/led-zeppelins-controversial-legacy-thievery-underage-groupies-and-the-mud-shark-incident\" target=\"_blank\" rel=\"noopener noreferrer\">Led Zeppelin\u003c/a>, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/rolling-stones-bill-wyman-contacted-1795749\" target=\"_blank\" rel=\"noopener noreferrer\">The Rolling Stones\u003c/a>, Aerosmith’s \u003ca href=\"http://www.feelnumb.com/2011/01/22/steven-tyler-once-had-14-year-old-girlfriend-that-her-parents-signed-over-to-him/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Tyler\u003c/a> and Red Hot Chili Peppers’ \u003ca href=\"https://www.disasterserum.com/your-favorite-rockstar-is-probably-a-creep\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Kiedis\u003c/a> all had sex with underage girls. And for those ten people, there are another 20 who want to tell you that all of those statutory rapes happened during a “different time,” and with fans that have, at least \u003ca href=\"https://jezebel.com/what-should-we-say-about-david-bowie-and-lori-maddox-1754533894\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes\u003c/a>, expressed no regrets about what happened.\u003c/p>\n\u003cp>The question remains: why risk potentially rewarding someone this grotesque? If there is one place we should all be able to agree, it’s on the fact that Gary Glitter is the worst kind of long-term predatory pedophile, one who has traveled around the world specifically in pursuit of his illegal sexual predilection, completely undeterred by either prison time or public shaming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While complaining about Glitter no doubt plays into \u003cem>Joker\u003c/em>‘s twisted marketing strategy, if anything positive is to come from this particular soundtrack choice, we should see it as a chance to recognize just how badly America needs to erase this kind of artist from the public consciousness. Cancel culture is supposed to be in full swing, but if we as a nation can’t even say no to the musical output of a criminal as heinous as Gary Glitter, how will we ever begin to address the ethics of more complex situations?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Lasting Legacy of Bob Ross and His Colorful World of 'Happy Accidents'",
"headTitle": "The Lasting Legacy of Bob Ross and His Colorful World of ‘Happy Accidents’ | KQED",
"content": "\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1koOWsj70d4\u003c/p>\n\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maureen Pao edited the Web story. Matt Ozug edited the audio story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Lasting+Legacy+Of+Bob+Ross+And+His+Colorful+World+Of+%27Happy+Accidents%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The bushy-haired former Air Force sergeant with the soothing voice rose to fame in the 1980s and '90s with his PBS show 'The Joy of Painting'. Bob Ross died in 1995, but his popularity endures.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\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/1koOWsj70d4'\n title='//www.youtube.com/embed/1koOWsj70d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eddie Murphy Explores a Blaxploitation Classic: 'Dolemite is My Name'",
"headTitle": "Eddie Murphy Explores a Blaxploitation Classic: ‘Dolemite is My Name’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DebCN7U65vY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In this 'buoyant but slight' Netflix film, Eddie Murphy plays comic Rudy Ray Moore, who found blaxploitation stardom in the persona of the swaggering Dolemite.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\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/DebCN7U65vY'\n title='//www.youtube.com/embed/DebCN7U65vY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Joker' is Wild... ly Dull",
"headTitle": "‘Joker’ is Wild… ly Dull | KQED",
"content": "\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAGVQLHvwOY\u003c/p>\n\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\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/zAGVQLHvwOY'\n title='//www.youtube.com/embed/zAGVQLHvwOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This List of Each State's Favorite Movie Candy Will Shock and Appall You",
"headTitle": "This List of Each State’s Favorite Movie Candy Will Shock and Appall You | KQED",
"content": "\u003cp>A new list has been compiled of America’s favorite movie candy, broken down state-by-state—and some of the results are very much \u003cem>not\u003c/em> okay.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/LightsCameraPod?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">\u003cem>Lights, Camera, Barstool\u003c/em>\u003c/a> podcast posted a map to social media, claiming that the candies selected for each state were dictated (“unofficially”!) by social media posts, combined with sales figures from Walmart and Target. But, oh boy, the joylessness inherent in some of these selections is so deeply upsetting, we are forced to question just how scientific the research that went into this is.\u003c/p>\n\u003cp>According to the map, of all the candy in all the world, Connecticut chooses \u003cem>raisins.\u003c/em> Texas, Idaho and South Carolina all favor black licorice (ew). Utah is apparently munching on something called \u003ca href=\"https://www.spanglercandy.com/our-brands/necco-wafers\" target=\"_blank\" rel=\"noopener\">Necco Wafers\u003c/a> that look like they’re from the 1930s. And most shockingly of all, North Dakota and Wisconsin finally provide an answer to the age-old question: Who in God’s name would eat baked beans or Kraft cheese slices at the movies? (Can it really be true?)\u003c/p>\n\u003cp>The most popular candy overall is M&Ms, with four states (New Hampshire, South Dakota, West Virginia and Wyoming) favoring them, followed by Tootsie Rolls, Reese’s Pieces and (again: ew) black licorice with three votes each respectively. California, quite typically, is dancing to the beat of its own drummer with Dots.\u003c/p>\n\u003cp>Accurate or not, the full list is a lot of fun:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alabama: Tootsie Rolls\u003cbr>\nAlaska: Wax Bottles\u003cbr>\nArizona: Candy Dots\u003cbr>\nArkansas: Junior Mints\u003cbr>\nCalifornia: Dots\u003cbr>\nColorado: Dum Dums\u003cbr>\nConnecticut: Raisins\u003cbr>\nDelaware: Reese’s Pieces\u003cbr>\nFlorida: Dum Dums\u003cbr>\nGeorgia: Smarties\u003cbr>\nHawaii: Wax Bottles\u003cbr>\nIdaho: Black licorice\u003cbr>\nIllinois: Sixlets\u003cbr>\nIndiana: Milk Duds\u003cbr>\nIowa: Candy Corn\u003cbr>\nKansas: Sixlets\u003cbr>\nKentucky: Bit-O-Honey\u003cbr>\nLouisiana: Pixie Sticks\u003cbr>\nMaine: Buncha Crunch\u003cbr>\nMaryland: Werther’s Original\u003cbr>\nMassachussetts: Circus Peanuts\u003cbr>\nMichigan: Good & Plenty\u003cbr>\nMinnesota: Almond Joy\u003cbr>\nMississippi: Candy Corn\u003cbr>\nMissouri: Sour Patch Kids\u003cbr>\nMontana: Buncha Crunch\u003cbr>\nNebraska: Junior Mints\u003cbr>\nNevada: Skittles\u003cbr>\nNew Hampshire: M&Ms\u003cbr>\nNew Jersey: Banana Laffy Taffy\u003cbr>\nNew Mexico: Reese’s Pieces\u003cbr>\nNew York: Pixie Sticks\u003cbr>\nNorth Carolina: Werther’s Original\u003cbr>\nNorth Dakota: Baked Beans\u003cbr>\nOhio: Lemonheads\u003cbr>\nOklahoma: Raisinets\u003cbr>\nOregon: Good & Plenty\u003cbr>\nPennsylvania: Jujyfruits\u003cbr>\nRhode Island: Lemonheads\u003cbr>\nSouth Carolina: Black licorice\u003cbr>\nSouth Dakota: M&Ms\u003cbr>\nTennessee: Tootsie Rolls\u003cbr>\nTexas: Black licorice\u003cbr>\nUtah: Necco Wafers\u003cbr>\nVermont: Candy Corn\u003cbr>\nVirginia: Tootsie Rolls\u003cbr>\nWashington: Reese’s Pieces\u003cbr>\nWashington DC: Cookie Dough Bites\u003cbr>\nWest Virginia: M&Ms\u003cbr>\nWisconsin: Kraft Cheese Slices\u003cbr>\nWyoming: M&Ms\u003c/p>\n\u003cp>People had feelings…\u003c/p>\n\u003cp>https://twitter.com/TalkinNothing/status/1178768126722355200\u003c/p>\n\u003cp>https://twitter.com/bookmarklit/status/1179050519861628928\u003c/p>\n\u003cp>https://twitter.com/shmermel/status/1179031630717079552\u003c/p>\n\u003cp>https://twitter.com/IanKenyonNFL/status/1179018687828959232\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/BlakeyLocks/status/1178797339810635779\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new list has been compiled of America’s favorite movie candy, broken down state-by-state—and some of the results are very much \u003cem>not\u003c/em> okay.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/LightsCameraPod?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">\u003cem>Lights, Camera, Barstool\u003c/em>\u003c/a> podcast posted a map to social media, claiming that the candies selected for each state were dictated (“unofficially”!) by social media posts, combined with sales figures from Walmart and Target. But, oh boy, the joylessness inherent in some of these selections is so deeply upsetting, we are forced to question just how scientific the research that went into this is.\u003c/p>\n\u003cp>According to the map, of all the candy in all the world, Connecticut chooses \u003cem>raisins.\u003c/em> Texas, Idaho and South Carolina all favor black licorice (ew). Utah is apparently munching on something called \u003ca href=\"https://www.spanglercandy.com/our-brands/necco-wafers\" target=\"_blank\" rel=\"noopener\">Necco Wafers\u003c/a> that look like they’re from the 1930s. And most shockingly of all, North Dakota and Wisconsin finally provide an answer to the age-old question: Who in God’s name would eat baked beans or Kraft cheese slices at the movies? (Can it really be true?)\u003c/p>\n\u003cp>The most popular candy overall is M&Ms, with four states (New Hampshire, South Dakota, West Virginia and Wyoming) favoring them, followed by Tootsie Rolls, Reese’s Pieces and (again: ew) black licorice with three votes each respectively. California, quite typically, is dancing to the beat of its own drummer with Dots.\u003c/p>\n\u003cp>Accurate or not, the full list is a lot of fun:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s called \u003ca href=\"https://grossdomesticproduct.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Gross Domestic Product\u003c/i>\u003c/a> and it’s currently on display in a large locked storefront in Croydon, a blue-collar borough of greater London. The collection of Banksy creations appeared overnight and was greeted as a pleasant surprise by locals on Oct. 1. The renegade artist announced its arrival via social media.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FAJKonJ_z/\u003c/p>\n\u003cp>Though the storefront does feature a variety of original Banksy artworks, as well as the infamous Union Jack “stab vest” worn by London emcee \u003ca href=\"https://www.kqed.org/pop/97349/everyone-loves-this-british-mc-for-getting-trapped-in-a-bathroom-stall\" target=\"_blank\" rel=\"noopener\">Stormzy\u003c/a> during his \u003ca href=\"https://www.youtube.com/watch?v=9vgar9pInkg\" target=\"_blank\" rel=\"noopener\">Glastonbury Festival\u003c/a> set last year, \u003ci>Gross Domestic Product\u003c/i> really is a new line of homewares, designed by Banksy, that will go on sale shortly at a new, dedicated website.\u003c/p>\n\u003cfigure id=\"attachment_13867522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867522\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg\" alt=\"The stab vest Banksy designed for Stormzy's headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stab vest Banksy designed for Stormzy’s headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England. \u003ccite>(Chris J Ratcliffe/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range is exactly what you’d expect from the always provocative street artist. There’s a rug that appears to be made from the pelt of Frosted Flakes mascot Tony the Tiger. There are throw pillows that instruct: “LIFE’S TOO SHORT TO TAKE ADVICE FROM A CUSHION.” There are curtain pullbacks made from heavy chains and padlocks, wall clocks that resemble rats running on exercise wheels, and a crib surrounded by CCTV cameras. There are even welcome mats made of life jackets, that were sewn together by refugees from detainment camps in Greece. (All proceeds from the sale will go back to the people that made them.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=43&v=AAQYdtzGcU8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for this unexpected dystopian pop-up shop? A greeting card company is contesting Banksy’s trademark to his own work. “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear,” his lawyer \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">Mark Stephens explained\u003c/a>. “If the trademark holder is not using the mark then it can be transferred to someone who will.” As such, Banksy needed to prove the trademark was still active—\u003ci>Gross Domestic Product\u003c/i> is the result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mugs, plates and clothing are also visible in the windows, and in a statement, Banksy said: “We hope to offer something for everyone, prices start from £10 but availability will be limited.” \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">The artist also clarified\u003c/a> that: “I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don’t want [the greeting card company] to get sole custody of my name.”\u003c/p>\n\n",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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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": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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