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"content": "\u003cp>Wherever you get your podcasts, there’s no shortage of movie shows. But\u003ca href=\"http://www.paulscheer.com/\"> Paul Scheer\u003c/a> may be the only man with one podcast dedicated to the very worst movies, and \u003cem>another\u003c/em> exploring the very best.\u003c/p>\n\u003cp>Thanks to a 20-year career in front of the camera in a variety of roles, comic Paul Scheer—who’s also a writer and director—has become a familiar face in film and TV, with roles in \u003cem>The League\u003c/em>,\u003cem> Fresh Off the Boat\u003c/em> and most recently Amazon’s \u003cem>Black Monday\u003c/em>. In the podcast world however, he’s best known not just as the host of the cult comedy show \u003ca href=\"https://www.earwolf.com/show/how-did-this-get-made/\">\u003cem>How Did This Get Made?\u003c/em>\u003c/a>—now in its ninth year, and \u003ca href=\"https://www.hdtgminfo.com/index/#tour\">bringing its live tour to Berkeley\u003c/a> this week—but also for \u003ca href=\"https://www.earwolf.com/show/unspooled/\">\u003cem>Unspooled\u003c/em>\u003c/a>, his podcast examining whether the classics still deserve their acclaim in 2019.\u003c/p>\n\u003cp>A show which Scheer says is “based on an energy of \u003cem>loving\u003c/em> movies” despite their dubious quality, \u003cem>How Did This Get Made\u003c/em> (\u003cem>HDTGM\u003c/em>) has dissected the very worst of Hollywood’s output for comic effect since 2011. Hosted by Scheer, June Diane Raphael and Jason Mantzoukas, what started as an exploration of how movies as dreadful as \u003cem>Battlefield Earth\u003c/em> or\u003cem> Speed 2: Cruise Control\u003c/em> actually get produced evolved into a hybrid of comedic conversation and affectionate criticism of the enjoyably ludicrous, with special guests like Charlize Theron and raucous sold-out live shows. \u003c/p>\n\u003cp>(Since the show’s early days, for example, \u003cem>Parks and Recreation\u003c/em> actor Adam Scott has returned for every single \u003cem>Fast and the Furious\u003c/em> live taping, a recurring role that increasingly styles him as a kind of sincere Professor Emeritus of Vin Diesel movies.)\u003c/p>\n\u003cfigure id=\"attachment_13866316\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg\" alt=\"Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast 'How Did This Get Made.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast ‘How Did This Get Made.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laughing that it’s “a very lofty answer,” Scheer attributes part of the popularity of the \u003cem>HDGTM\u003c/em> live shows to how they physically connect thousands of fans around one (terrible) movie. “We’re in a world where everything kind of goes so quickly, and you’re so isolated by your own opinions,” says Scheer. “It feels like this kind of electric moment.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it’s true: In a landscape where fans are more likely to congregate over something good, an \u003cem>HDTGM\u003c/em> live show will be the first and only time thousands of people have gathered to marvel at how a movie like \u003cem>Drop Dead Fred\u003c/em> ever got made. (The chosen movie for the \u003ca href=\"https://www1.ticketmaster.com/event/1C0056BDF09E915E\">sold-out Berkeley show\u003c/a>, by the way: 1986’s \u003cem>Friday the 13th Part VI\u003c/em>. “My dream,” Scheer says, “would be to come out to that audience that night and see everybody in hockey masks.”)\u003c/p>\n\u003cp>\u003cem>HDTGM\u003c/em> began by warmly skewering legitimately atrocious movies (Jennifer Lopez’s \u003cem>Gigli\u003c/em>, Nic Cage’s \u003cem>Wicker Man\u003c/em> remake), but soon transitioned to encompass enjoyably overblown blockbusters like \u003cem>The Meg\u003c/em>. Scheer’s reasoning for this is that genuinely bad movies are often no actual fun to watch. As franchises like the \u003cem>Fast and the Furious\u003c/em> strain for increasingly crazy heights in an effort to outdo themselves with each passing year, ridiculously enjoyable blockbusters can start to feel like ridiculously bad movies in how they elicit the same kind of giddy “confusion and confoundment.”\u003c/p>\n\u003cp>In the soup of an internet culture where lowbrow rubs along with highbrow, and semi-ironic veneration of a bad movie is just as likely to hit your feed as praise for something genuinely acclaimed, no wonder the lines get blurred!\u003c/p>\n\u003cp>One of the central jokes of \u003cem>HDGTM\u003c/em> is how the show lavishes the same attention to detail on gloriously bad movies that you’d normally reserve for the very best ones. This, of course, is where Scheer’s other movie podcast \u003cem>Unspooled\u003c/em> comes in, birthed in 2018 out of another impulse that unites many film fans: The Canon.\u003c/p>\n\u003cfigure id=\"attachment_13866319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866319\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg\" alt=\"Paul Scheer and film critic Amy Nicholson take on the AFI's Top 100 list on the podcast 'Unspooled.'\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Paul Scheer and film critic Amy Nicholson take on the AFI’s Top 100 list on the podcast ‘Unspooled.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie fans are notorious list-makers, especially when it comes to the idea of The Canon, and it was Scheer’s own realization that he’d never seen many of the films on \u003ca href=\"https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/\">the American Film Institute (AFI)’s Top 100 Movies list\u003c/a> that spurred him to invite film critic \u003ca href=\"https://twitter.com/TheAmyNicholson\">Amy Nicholson\u003c/a> to get together and take them on in podcast form.\u003c/p>\n\u003cp>As Scheer sees it, “I’m basically hosting this book club where we’re watching movies once a week.” He casts himself as the audience representative—even film fans feel like they haven’t seen enough of the so-called classics.\u003c/p>\n\u003cp>Coupled with Nicholson’s unpretentious critical style, the fact that \u003cem>Unspooled\u003c/em> stemmed from Scheer’s own desire to address the gaps in his knowledge lends the show its tone of warm, enthusiastic inclusiveness. He says he wants \u003cem>Unspooled\u003c/em> to feel like “fun film school”—and in contrast to his other podcast’s veneration of the so-bad-it’s-good guilty pleasure popcorn experience, \u003cem>Unspooled\u003c/em>’s clear-eyed take on the classics can act as a balm for those who might feel like ‘bad’ film fans for sometimes preferring to watch \u003cem>Commando\u003c/em> on a Saturday night over \u003cem>Citizen Kane\u003c/em>.\u003c/p>\n\u003cp>If \u003cem>HDTGM\u003c/em> is where bad movies go to get the affectionate ribbing they deserve, \u003cem>Unspooled\u003c/em> is where film’s sacred cows receive the critical re-appraisal they may well need. Elements in these movies that are difficult, troubling or problematic by today’s standards—\u003cem>The Deer Hunter\u003c/em>’s racial politics, transphobia in \u003cem>The Silence of the Lambs\u003c/em>—aren’t glossed over, but instead unraveled thoughtfully and expertly, thanks in large part of Nicholson’s deep knowledge of her field. (“I just love the way her mind thinks,” says Scheer of his cohost.)\u003c/p>\n\u003cp>Whether knowingly or not, film fans can often strain for ‘insider status’ when discussing the movie business, in the industry jargon we adopt or that illusory accessibility we feel toward our favorite filmmakers makers and stars. Yet Scheer occupies the rare position of being a movie commentator who actually is an industry insider himself.\u003c/p>\n\u003cp>As an actor, writer and director, he’s frequently bracingly honest about the rigors of the business on both his podcasts—not least when mentioning in asides the movies he unsuccessfully auditioned for. And in a head-spinningly meta piece of casting, Scheer and \u003cem>HDGTM\u003c/em> co-hosts Jason Mantzoukas and June Diane Raphael all appeared in \u003cem>The Disaster Artist\u003c/em>, James Franco’s 2018 movie about the making of Tommy Wiseau’s cult film \u003cem>The Room\u003c/em>—frequently “hailed” as one of the worst movies ever made.\u003c/p>\n\u003cp>For a guy who now hosts two movie podcasts, Scheer says he never saw himself becoming a de facto film critic. He started his comedy career in the world of improvisation—inspired in part, he says, by a childhood love of talk radio. In contrast to the acting, writing and editing he does elsewhere, Scheer says he’s parlaying some of improv’s freeing ephemerality into his podcasting. Taping conversational podcasts like \u003cem>HDTGM\u003c/em> and \u003cem>Unspooled\u003c/em>, he says, is “the closest I can get to doing improv—without doing improv.”\u003c/p>\n\u003cp>Fittingly for the host of one hit show about badly-received movies, and another based on re-evaluating a critical canon, Scheer’s a believer in the value of not pleasing everyone, especially in a podcast industry where “there’s always going to be someone out there doing what you’re doing.” He paraphrases a recent conversation he had with filmmaker Nicholas Winding Refn: “If everyone likes it, there’s a problem with it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, the only thing a creator really has control over, Scheer says, “is your own voice… and not everyone’s going to like it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wherever you get your podcasts, there’s no shortage of movie shows. But\u003ca href=\"http://www.paulscheer.com/\"> Paul Scheer\u003c/a> may be the only man with one podcast dedicated to the very worst movies, and \u003cem>another\u003c/em> exploring the very best.\u003c/p>\n\u003cp>Thanks to a 20-year career in front of the camera in a variety of roles, comic Paul Scheer—who’s also a writer and director—has become a familiar face in film and TV, with roles in \u003cem>The League\u003c/em>,\u003cem> Fresh Off the Boat\u003c/em> and most recently Amazon’s \u003cem>Black Monday\u003c/em>. In the podcast world however, he’s best known not just as the host of the cult comedy show \u003ca href=\"https://www.earwolf.com/show/how-did-this-get-made/\">\u003cem>How Did This Get Made?\u003c/em>\u003c/a>—now in its ninth year, and \u003ca href=\"https://www.hdtgminfo.com/index/#tour\">bringing its live tour to Berkeley\u003c/a> this week—but also for \u003ca href=\"https://www.earwolf.com/show/unspooled/\">\u003cem>Unspooled\u003c/em>\u003c/a>, his podcast examining whether the classics still deserve their acclaim in 2019.\u003c/p>\n\u003cp>A show which Scheer says is “based on an energy of \u003cem>loving\u003c/em> movies” despite their dubious quality, \u003cem>How Did This Get Made\u003c/em> (\u003cem>HDTGM\u003c/em>) has dissected the very worst of Hollywood’s output for comic effect since 2011. Hosted by Scheer, June Diane Raphael and Jason Mantzoukas, what started as an exploration of how movies as dreadful as \u003cem>Battlefield Earth\u003c/em> or\u003cem> Speed 2: Cruise Control\u003c/em> actually get produced evolved into a hybrid of comedic conversation and affectionate criticism of the enjoyably ludicrous, with special guests like Charlize Theron and raucous sold-out live shows. \u003c/p>\n\u003cp>(Since the show’s early days, for example, \u003cem>Parks and Recreation\u003c/em> actor Adam Scott has returned for every single \u003cem>Fast and the Furious\u003c/em> live taping, a recurring role that increasingly styles him as a kind of sincere Professor Emeritus of Vin Diesel movies.)\u003c/p>\n\u003cfigure id=\"attachment_13866316\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg\" alt=\"Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast 'How Did This Get Made.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast ‘How Did This Get Made.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laughing that it’s “a very lofty answer,” Scheer attributes part of the popularity of the \u003cem>HDGTM\u003c/em> live shows to how they physically connect thousands of fans around one (terrible) movie. “We’re in a world where everything kind of goes so quickly, and you’re so isolated by your own opinions,” says Scheer. “It feels like this kind of electric moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s true: In a landscape where fans are more likely to congregate over something good, an \u003cem>HDTGM\u003c/em> live show will be the first and only time thousands of people have gathered to marvel at how a movie like \u003cem>Drop Dead Fred\u003c/em> ever got made. (The chosen movie for the \u003ca href=\"https://www1.ticketmaster.com/event/1C0056BDF09E915E\">sold-out Berkeley show\u003c/a>, by the way: 1986’s \u003cem>Friday the 13th Part VI\u003c/em>. “My dream,” Scheer says, “would be to come out to that audience that night and see everybody in hockey masks.”)\u003c/p>\n\u003cp>\u003cem>HDTGM\u003c/em> began by warmly skewering legitimately atrocious movies (Jennifer Lopez’s \u003cem>Gigli\u003c/em>, Nic Cage’s \u003cem>Wicker Man\u003c/em> remake), but soon transitioned to encompass enjoyably overblown blockbusters like \u003cem>The Meg\u003c/em>. Scheer’s reasoning for this is that genuinely bad movies are often no actual fun to watch. As franchises like the \u003cem>Fast and the Furious\u003c/em> strain for increasingly crazy heights in an effort to outdo themselves with each passing year, ridiculously enjoyable blockbusters can start to feel like ridiculously bad movies in how they elicit the same kind of giddy “confusion and confoundment.”\u003c/p>\n\u003cp>In the soup of an internet culture where lowbrow rubs along with highbrow, and semi-ironic veneration of a bad movie is just as likely to hit your feed as praise for something genuinely acclaimed, no wonder the lines get blurred!\u003c/p>\n\u003cp>One of the central jokes of \u003cem>HDGTM\u003c/em> is how the show lavishes the same attention to detail on gloriously bad movies that you’d normally reserve for the very best ones. This, of course, is where Scheer’s other movie podcast \u003cem>Unspooled\u003c/em> comes in, birthed in 2018 out of another impulse that unites many film fans: The Canon.\u003c/p>\n\u003cfigure id=\"attachment_13866319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866319\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg\" alt=\"Paul Scheer and film critic Amy Nicholson take on the AFI's Top 100 list on the podcast 'Unspooled.'\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Paul Scheer and film critic Amy Nicholson take on the AFI’s Top 100 list on the podcast ‘Unspooled.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie fans are notorious list-makers, especially when it comes to the idea of The Canon, and it was Scheer’s own realization that he’d never seen many of the films on \u003ca href=\"https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/\">the American Film Institute (AFI)’s Top 100 Movies list\u003c/a> that spurred him to invite film critic \u003ca href=\"https://twitter.com/TheAmyNicholson\">Amy Nicholson\u003c/a> to get together and take them on in podcast form.\u003c/p>\n\u003cp>As Scheer sees it, “I’m basically hosting this book club where we’re watching movies once a week.” He casts himself as the audience representative—even film fans feel like they haven’t seen enough of the so-called classics.\u003c/p>\n\u003cp>Coupled with Nicholson’s unpretentious critical style, the fact that \u003cem>Unspooled\u003c/em> stemmed from Scheer’s own desire to address the gaps in his knowledge lends the show its tone of warm, enthusiastic inclusiveness. He says he wants \u003cem>Unspooled\u003c/em> to feel like “fun film school”—and in contrast to his other podcast’s veneration of the so-bad-it’s-good guilty pleasure popcorn experience, \u003cem>Unspooled\u003c/em>’s clear-eyed take on the classics can act as a balm for those who might feel like ‘bad’ film fans for sometimes preferring to watch \u003cem>Commando\u003c/em> on a Saturday night over \u003cem>Citizen Kane\u003c/em>.\u003c/p>\n\u003cp>If \u003cem>HDTGM\u003c/em> is where bad movies go to get the affectionate ribbing they deserve, \u003cem>Unspooled\u003c/em> is where film’s sacred cows receive the critical re-appraisal they may well need. Elements in these movies that are difficult, troubling or problematic by today’s standards—\u003cem>The Deer Hunter\u003c/em>’s racial politics, transphobia in \u003cem>The Silence of the Lambs\u003c/em>—aren’t glossed over, but instead unraveled thoughtfully and expertly, thanks in large part of Nicholson’s deep knowledge of her field. (“I just love the way her mind thinks,” says Scheer of his cohost.)\u003c/p>\n\u003cp>Whether knowingly or not, film fans can often strain for ‘insider status’ when discussing the movie business, in the industry jargon we adopt or that illusory accessibility we feel toward our favorite filmmakers makers and stars. Yet Scheer occupies the rare position of being a movie commentator who actually is an industry insider himself.\u003c/p>\n\u003cp>As an actor, writer and director, he’s frequently bracingly honest about the rigors of the business on both his podcasts—not least when mentioning in asides the movies he unsuccessfully auditioned for. And in a head-spinningly meta piece of casting, Scheer and \u003cem>HDGTM\u003c/em> co-hosts Jason Mantzoukas and June Diane Raphael all appeared in \u003cem>The Disaster Artist\u003c/em>, James Franco’s 2018 movie about the making of Tommy Wiseau’s cult film \u003cem>The Room\u003c/em>—frequently “hailed” as one of the worst movies ever made.\u003c/p>\n\u003cp>For a guy who now hosts two movie podcasts, Scheer says he never saw himself becoming a de facto film critic. He started his comedy career in the world of improvisation—inspired in part, he says, by a childhood love of talk radio. In contrast to the acting, writing and editing he does elsewhere, Scheer says he’s parlaying some of improv’s freeing ephemerality into his podcasting. Taping conversational podcasts like \u003cem>HDTGM\u003c/em> and \u003cem>Unspooled\u003c/em>, he says, is “the closest I can get to doing improv—without doing improv.”\u003c/p>\n\u003cp>Fittingly for the host of one hit show about badly-received movies, and another based on re-evaluating a critical canon, Scheer’s a believer in the value of not pleasing everyone, especially in a podcast industry where “there’s always going to be someone out there doing what you’re doing.” He paraphrases a recent conversation he had with filmmaker Nicholas Winding Refn: “If everyone likes it, there’s a problem with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Influential photographer and filmmaker Robert Frank has died at the age of 94. He died of natural causes on Monday night in Nova Scotia, Canada. His death was confirmed by his longtime friend and gallerist Peter MacGill.\u003c/p>\n\u003cp>He was best known for \u003ca href=\"https://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography\">his 1959 book \u003cem>The Americans\u003c/em>\u003c/a>, a collection of black-and-white photographs he took while road-tripping across the country starting in 1955. Frank’s images were dark, grainy and free from nostalgia; they showed a country at odds with the optimistic views of prosperity that characterized so much American photography at the time.\u003c/p>\n\u003cp>His Leica camera captured gay men in New York, factory workers in Detroit and a segregated trolley in New Orleans — sour and defiant white faces in front and the anguished face of a black man in back.\u003c/p>\n\u003cfigure id=\"attachment_13866280\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866280\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg\" alt=\"Trolley – New Orleans, 1955.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1920x1192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trolley – New Orleans, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Gift of Maria and Lee Friedlander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was savaged — mainstream critics called Frank sloppy and joyless. And Frank remembered the slights.\u003c/p>\n\u003cp>“The Museum of Modern Art wouldn’t even sell the book,” he told NPR for a story in 1994. “I mean, certain things, one doesn’t forget so easy. But the younger people caught on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the photographs in \u003cem>The Americans\u003c/em> became canon, inspiring legions. \u003ca href=\"https://www.joelmeyerowitz.com/\">Photographer Joel Meyerowitz\u003c/a> remembered watching Frank at work early on.\u003c/p>\n\u003cp>“And it was such an unbelievable and powerful experience watching him twisting, turning, bobbing, weaving,” Meyerowitz said in 1994. “And every time I heard his Leica go ‘click,’ I would see the moment freeze in front of Robert.”\u003c/p>\n\u003cfigure id=\"attachment_13866281\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg\" alt=\"Parade – Hoboken, New Jersey, 1955.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1200x810.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade – Hoboken, New Jersey, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, Robert B. Menschel Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Switzerland in 1924, Frank came to the United States in 1947. Even then, his pictures were seen as too rough, spontaneous, personal. He was turned down by the respected photo agency Magnum.\u003c/p>\n\u003cp>But Frank knew what he wanted to do and he had the training to back up his vision, as the late poet Allen Ginsburg pointed out in 1994.\u003c/p>\n\u003cp>“Robert has this fantastic education since he was 17 as an apprentice to an industrial photographer,” Ginsburg said. “So he knows the chemicals of it. He knows how to light a factory with magnesium flares. So he’s got fantastic discipline which he applies to being able to be spontaneous.”\u003c/p>\n\u003cfigure id=\"attachment_13866282\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg\" alt=\"Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955.\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1200x816.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1920x1306.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, The Robert and Anne Bass Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginsburg was a friend and photography student of Frank. He also starred in Frank’s first film, 1959’s \u003cem>Pull My Daisy\u003c/em>. It was based on part of an unproduced play by Jack Kerouac and featured the author as narrator.\u003c/p>\n\u003cp>\u003cem>Pull My Daisy\u003c/em>, and the other experimental, autobiographical films Robert Frank made, were his reaction to a restlessness he felt around still photography.\u003c/p>\n\u003cp>“In still photography, you have to come up with one good picture, maybe two or three,” he told NPR in 1988. “But that’s only three frames. There’s no rhythm. Still photography isn’t music. Film is really, in a way, based on a rhythm, like music.”\u003c/p>\n\u003cp>Yet Frank’s films shared a lot with his photographs. They were personal; they evoked emotions as much as they told stories. They’re like home movies, and he made more than 20 of them before returning to photography. By then, he was a legend, acknowledged as an inspiration by such noted artists as Ed Ruscha, Lee Friedlander and Garry Winogrand.\u003c/p>\n\u003cp>What comes through in all of Frank’s work is his ability to catch a moment. And that came from truly looking.\u003c/p>\n\u003cp>“Like a boxer trains for a fight, a photographer, by walking the streets, and watching, and taking pictures, and coming home, and going out the next day — same thing again, taking pictures,” Frank said in 2009. “It doesn’t matter how many he takes, or if he takes any at all. It gets you prepared to know what you should take pictures of.”\u003c/p>\n\u003cfigure id=\"attachment_13866283\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg\" alt='\"New York City, 7 Bleecker Street,\" 1993.' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1200x956.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1920x1529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“New York City, 7 Bleecker Street,” 1993. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one 1985 video called “Home Improvements,” he films his own reflection through a glass door. He seems to capture how he saw his work in the voiceover narration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m always looking outside trying to look inside,” Frank says. “Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+Documentary+Photographer+Robert+Frank+Dies+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Influential photographer and filmmaker Robert Frank has died at the age of 94. He died of natural causes on Monday night in Nova Scotia, Canada. His death was confirmed by his longtime friend and gallerist Peter MacGill.\u003c/p>\n\u003cp>He was best known for \u003ca href=\"https://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography\">his 1959 book \u003cem>The Americans\u003c/em>\u003c/a>, a collection of black-and-white photographs he took while road-tripping across the country starting in 1955. Frank’s images were dark, grainy and free from nostalgia; they showed a country at odds with the optimistic views of prosperity that characterized so much American photography at the time.\u003c/p>\n\u003cp>His Leica camera captured gay men in New York, factory workers in Detroit and a segregated trolley in New Orleans — sour and defiant white faces in front and the anguished face of a black man in back.\u003c/p>\n\u003cfigure id=\"attachment_13866280\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866280\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg\" alt=\"Trolley – New Orleans, 1955.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1920x1192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trolley – New Orleans, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Gift of Maria and Lee Friedlander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was savaged — mainstream critics called Frank sloppy and joyless. And Frank remembered the slights.\u003c/p>\n\u003cp>“The Museum of Modern Art wouldn’t even sell the book,” he told NPR for a story in 1994. “I mean, certain things, one doesn’t forget so easy. But the younger people caught on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the photographs in \u003cem>The Americans\u003c/em> became canon, inspiring legions. \u003ca href=\"https://www.joelmeyerowitz.com/\">Photographer Joel Meyerowitz\u003c/a> remembered watching Frank at work early on.\u003c/p>\n\u003cp>“And it was such an unbelievable and powerful experience watching him twisting, turning, bobbing, weaving,” Meyerowitz said in 1994. “And every time I heard his Leica go ‘click,’ I would see the moment freeze in front of Robert.”\u003c/p>\n\u003cfigure id=\"attachment_13866281\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg\" alt=\"Parade – Hoboken, New Jersey, 1955.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1200x810.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade – Hoboken, New Jersey, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, Robert B. Menschel Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Switzerland in 1924, Frank came to the United States in 1947. Even then, his pictures were seen as too rough, spontaneous, personal. He was turned down by the respected photo agency Magnum.\u003c/p>\n\u003cp>But Frank knew what he wanted to do and he had the training to back up his vision, as the late poet Allen Ginsburg pointed out in 1994.\u003c/p>\n\u003cp>“Robert has this fantastic education since he was 17 as an apprentice to an industrial photographer,” Ginsburg said. “So he knows the chemicals of it. He knows how to light a factory with magnesium flares. So he’s got fantastic discipline which he applies to being able to be spontaneous.”\u003c/p>\n\u003cfigure id=\"attachment_13866282\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg\" alt=\"Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955.\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1200x816.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1920x1306.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, The Robert and Anne Bass Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginsburg was a friend and photography student of Frank. He also starred in Frank’s first film, 1959’s \u003cem>Pull My Daisy\u003c/em>. It was based on part of an unproduced play by Jack Kerouac and featured the author as narrator.\u003c/p>\n\u003cp>\u003cem>Pull My Daisy\u003c/em>, and the other experimental, autobiographical films Robert Frank made, were his reaction to a restlessness he felt around still photography.\u003c/p>\n\u003cp>“In still photography, you have to come up with one good picture, maybe two or three,” he told NPR in 1988. “But that’s only three frames. There’s no rhythm. Still photography isn’t music. Film is really, in a way, based on a rhythm, like music.”\u003c/p>\n\u003cp>Yet Frank’s films shared a lot with his photographs. They were personal; they evoked emotions as much as they told stories. They’re like home movies, and he made more than 20 of them before returning to photography. By then, he was a legend, acknowledged as an inspiration by such noted artists as Ed Ruscha, Lee Friedlander and Garry Winogrand.\u003c/p>\n\u003cp>What comes through in all of Frank’s work is his ability to catch a moment. And that came from truly looking.\u003c/p>\n\u003cp>“Like a boxer trains for a fight, a photographer, by walking the streets, and watching, and taking pictures, and coming home, and going out the next day — same thing again, taking pictures,” Frank said in 2009. “It doesn’t matter how many he takes, or if he takes any at all. It gets you prepared to know what you should take pictures of.”\u003c/p>\n\u003cfigure id=\"attachment_13866283\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg\" alt='\"New York City, 7 Bleecker Street,\" 1993.' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1200x956.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1920x1529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“New York City, 7 Bleecker Street,” 1993. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one 1985 video called “Home Improvements,” he films his own reflection through a glass door. He seems to capture how he saw his work in the voiceover narration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m always looking outside trying to look inside,” Frank says. “Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+Documentary+Photographer+Robert+Frank+Dies+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives",
"title": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives",
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"headTitle": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives | KQED",
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"content": "\u003cp>For Brits who have grown up observing what happens to women who marry into the royal family, the ongoing bullying of Meghan Markle is miserable to watch but par for the course.\u003c/p>\n\u003cp>Before her wedding, excitement that an American woman of color was marrying into the UK’s most prestigious family reached fever pitch. Around the world, an estimated \u003ca href=\"https://www.nowtolove.com.au/royals/british-royal-family/meghan-markle-feud-53096\" target=\"_blank\" rel=\"noopener noreferrer\">1.9 billion\u003c/a> people\u003ca href=\"https://www.kqed.org/pop/103656/i-stayed-up-all-night-to-watch-the-royal-wedding-so-you-didnt-have-to\" target=\"_blank\" rel=\"noopener noreferrer\"> stayed glued to their TVs\u003c/a> to watch Prince Harry put a ring on it. At the time, Markle was described as “\u003ca href=\"https://www.youtube.com/watch?v=IM9u8PRJZyM\" target=\"_blank\" rel=\"noopener noreferrer\">radiant\u003c/a>” and “\u003ca href=\"https://www.usmagazine.com/celebrity-news/news/duchess-meghan-was-a-regal-beauty-at-royal-wedding-bff-says/\" target=\"_blank\" rel=\"noopener noreferrer\">a regal beauty\u003c/a>.” Cute reports quickly emerged that she was so close with Queen Elizabeth II that she was calling her “\u003ca href=\"https://www.her.ie/celeb/meghan-markle-nickname-queen-cute-408880\" target=\"_blank\" rel=\"noopener noreferrer\">mama\u003c/a>” instead of the traditional “ma’am.” [aside postid='arts_13872986']\u003c/p>\n\u003cp>Within months, that excitement had given way to rumors of prima donna behavior (including “\u003ca href=\"https://www.dailymail.co.uk/news/article-6450545/Hunt-Palace-mole-revealed-news-rift-Kate-Meghan.html\" target=\"_blank\" rel=\"noopener noreferrer\">being brusque with servants\u003c/a>“), controversies over \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/meghan-markle-disturbed-by-father-thomas-markle-staging-photos/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s treatment of her estranged father\u003c/a> and anger over her \u003ca href=\"https://www.huffpost.com/entry/prince-william-kate-middleton-fly-commercial_n_5d5d8a5de4b0701d280cd079\" target=\"_blank\" rel=\"noopener noreferrer\">taking private jets\u003c/a>. Most recently (and bizarrely), she was even blamed for Serena Williams losing at the US Open.\u003c/p>\n\u003cp>https://twitter.com/FDain2/status/1170560592878407680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1170560592878407680&ref_url=https%3A%2F%2Fwww.instyle.com%2Fnews%2Fmeghan-markle-accused-of-jinxing-serena-williams\u003c/p>\n\u003cp>The ongoing pile-on might be \u003ca href=\"https://twitter.com/Pink/status/1163658843554893826\" target=\"_blank\" rel=\"noopener noreferrer\">shocking for Americans\u003c/a>, but everything happening to Meghan Markle right now has happened before, and repeatedly, to every woman who has ever married into Britain’s royal family—even down to being called a jinx. (In 2005, the term was used in both \u003cem>The Daily Express\u003c/em> and \u003cem>The Sun\u003c/em> newspapers about Camilla Parker Bowles’ imminent wedding to Prince Charles. In 2010, \u003cem>The Daily Star\u003c/em> used the word in relation to Princess Diana’s \u003ca href=\"https://www.dailystar.co.uk/news/latest-news/jinxed-princess-diana-ring-ritual-18257588\" target=\"_blank\" rel=\"noopener noreferrer\">engagement ring\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before the target moved to Meghan Markle’s back, Kate Middleton was the focus of appalling treatment by the press and public. For most of her and Prince William’s courtship, she was portrayed in the British tabloids as “\u003ca href=\"https://www.cheatsheet.com/entertainment/kate-middleton-nickname-waity-katie.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Waity Katie\u003c/a>“—a sad figure desperate to get to the throne by any means necessary. Her perceived \u003ca href=\"https://www.chatelaine.com/living/waity-katie-or-lazy-katie-kate-middleton-quits-her-job-to-become-a-royal/\" target=\"_blank\" rel=\"noopener noreferrer\">lack of career ambitions\u003c/a> were a source of mockery. And an array of trivialities—in particular a photo of her \u003ca href=\"https://www.crfashionbook.com/celebrity/a25804498/kate-middleton-birthday-charity-dress/\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a sheer dress\u003c/a> in a college fashion show—were unfairly analyzed in relation to her worthiness as a future queen. [aside postid='arts_13878920']\u003c/p>\n\u003cp>In those pre-marriage days, Prince Harry’s ex-girlfriend, Chelsy Davy, was also subjected to harsh scrutiny during the seven years they were on-again, off-again. Davy was frequently labeled “\u003ca href=\"https://www.celebitchy.com/153314/chelsy_davy_is_going_to_be_dressed_inappropriately_for_the_wedding_of_course/\" target=\"_blank\" rel=\"noopener noreferrer\">trashy\u003c/a>,” and mocked endlessly over her appearance (in particular after one unfortunate \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-1127222/The-future-truly-orange-newly-single-fake-tan-fan-Chelsy-Davy.html\" target=\"_blank\" rel=\"noopener noreferrer\">fake tan\u003c/a>). Even after she attended Prince Harry and Markle’s wedding with \u003ca href=\"https://www.bustle.com/p/prince-harry-reportedly-called-chelsy-davy-before-the-royal-wedding-its-still-none-of-your-business-9194271\" target=\"_blank\" rel=\"noopener noreferrer\">a big smile on her face\u003c/a>, she was turned into a meme.\u003c/p>\n\u003cp>https://twitter.com/SamanthaQuek/status/997768040094814209\u003c/p>\n\u003cp>The royal biography \u003cem>Harry: Conversations with the Prince\u003c/em> detailed \u003ca href=\"https://www.closerweekly.com/posts/chelsy-davy-dumped-prince-harry-prince-william-kate-middleton-wedding-164527/\" target=\"_blank\" rel=\"noopener noreferrer\">Davy’s reluctance\u003c/a> to make a lifelong commitment to such a high profile relationship. No wonder she looked so stressed in that church, knowing how many eyes were on her. [aside postid='arts_13873680']\u003c/p>\n\u003cp>Far exceeding what William and Harry’s romantic partners have been subjected to is the sheer unbridled hatred reserved for their father’s wife, Camilla Parker Bowles. The Palace’s struggle to get the public on board with the woman Princess Diana famously referred to as the “\u003ca href=\"https://www.youtube.com/watch?v=Ocw_OXfZckU\" target=\"_blank\" rel=\"noopener noreferrer\">third person\u003c/a>” in her and Charles’ marriage has been immense. And while Charles’ ascension to the throne has undoubtedly been delayed for years because of it, he has not been subjected to the kinds of personal barbs continually thrown in Bowles’ direction.\u003c/p>\n\u003cp>Until fairly recently, when Bowles wasn’t having her \u003ca href=\"https://www.pinterest.com/pin/388365167848053915/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">looks insulted\u003c/a>, she was portrayed almost exclusively as an adulterous she-devil. The British public may no longer refer to her as “\u003ca href=\"https://www.express.co.uk/news/royal/1074824/camilla-parker-bowles-news-Yorkshire-Pudding-duchess-of-cornwall-transformation-spt\" target=\"_blank\" rel=\"noopener noreferrer\">the most hated woman in Britain\u003c/a>” but the “\u003ca href=\"https://www.ibtimes.com/camilla-parker-bowles-branded-homewrecker-blamed-princess-dianas-suffering-birthday-2807509\" target=\"_blank\" rel=\"noopener noreferrer\">homewrecker\u003c/a>” tag follows her to this day.\u003c/p>\n\u003cp>Bowles’ problems were exacerbated by the public obsession with, and posthumous canonization of, Princess Diana. Because of the manner of Diana’s death, we acutely remember the paparazzi’s obsession with her but forget what caused that hounding in the first place: a public hungry to know her every move, and a press happy to \u003ca href=\"https://www.today.com/news/princess-diana-s-iconic-skirt-moment-photographer-arthur-edwards-shares-t111013\" target=\"_blank\" rel=\"noopener noreferrer\">body shame\u003c/a>, \u003ca href=\"https://people.com/archive/cover-story-diss-and-tell-vol-42-no-16/\" target=\"_blank\" rel=\"noopener noreferrer\">slut shame\u003c/a> and criticize her \u003ca href=\"https://lisawallerrogers.com/tag/british-royal-familynobles/page/4/\" target=\"_blank\" rel=\"noopener noreferrer\">taste in men\u003c/a> on a near-daily basis. \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1560857/Princess-Diana-Editors-admit-guilt-over-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">Guilt\u003c/a> over how it treated her in life, it has been suggested, played a role in the British public’s unprecedented outpouring of grief after her death.\u003c/p>\n\u003cfigure id=\"attachment_13866161\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/duchpork.jpg\" alt=\"'The News of the World' used Fergie's cruelest nickname, "Duchess of Pork," in a 2010 report about her cash for royal access scandal.\" width=\"240\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork-160x212.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">‘The News of the World’ used Fergie’s cruelest nickname, “Duchess of Pork,” in a 2010 report about her cash for royal access scandal.\u003c/figcaption>\u003c/figure>\n\u003cp>Though she was granted fewer column inches, Diana’s sister-in-law, Sarah “Fergie” Ferguson—who married Charles’ brother, Prince Andrew, in 1986—was subjected to a jaw-dropping degree of cruelty. At one point, the tabloid obsession with her (perfectly average) weight was so intense, Fergie was dubbed “\u003ca href=\"https://eng.amomama.com/161384-princess-beatrices-childhood-issues-that.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Duchess of Pork\u003c/a>” (a pun on her official “Duchess of York” title). Speaking to the \u003ca href=\"https://soundcloud.com/gemma-and-emma-podcast/tlnh-sarah-duchess-of-york\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gemma & Emma\u003c/em>\u003c/a> podcast in 2017, Ferguson recalled: “One of the worst headlines said 82 percent would rather sleep with a goat than Fergie. It’s never left me.”\u003c/p>\n\u003cp>The thread that unites all of these royal wives, however, is one of tabloid journalism’s favorite tropes: the catfight. This year, in an essay for \u003cem>Hello!\u003c/em> magazine, Sarah Ferguson recalled how she and Princess Diana were frequently \u003ca href=\"https://www.eonline.com/news/1014451/the-heartbreaking-truth-about-fergie-vs-diana-why-the-pitting-of-meghan-markle-against-kate-middleton-hasn-t-reached-that-level-yet\" target=\"_blank\" rel=\"noopener noreferrer\">pitted against each other\u003c/a> by the press, despite their very close friendship. Alleged wars between \u003ca href=\"https://www.newidea.com.au/sarah-ferguson-and-camilla-parker-bowles-feud\" target=\"_blank\" rel=\"noopener noreferrer\">Fergie and Parker Bowles\u003c/a> have surfaced in the media more recently.\u003c/p>\n\u003cp>Predictably, a \u003ca href=\"https://www.express.co.uk/news/royal/1168107/Royal-feud-Meghan-Markle-Prince-Harry-Kate-Middleton-royal-rift-news\" target=\"_blank\" rel=\"noopener noreferrer\">supposed feud\u003c/a> between Markle and Middleton dominated the press for months after Markle’s wedding, and was blamed for causing a rift between their otherwise close husbands. Middleton has since been given \u003ca href=\"https://www.express.co.uk/news/royal/1163007/Kate-Middleton-vs-Meghan-Markle-feud-royal-rift-over\" target=\"_blank\" rel=\"noopener noreferrer\">credit for ending the “feud”\u003c/a>—probably because that portrayal lines up with the conciliatory image created for her in the years when she was still being pitted against Davy. Back then, Davy was portrayed as \u003ca href=\"https://www.cheatsheet.com/entertainment/why-prince-harrys-ex-chelsy-davy-refused-to-be-friends-with-kate-middleton.html/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly rejecting Kate\u003c/a>‘s attempts at friendship—a storyline that served to reinforce the press’s portrayal of Middleton as a doormat and Davy as low class.\u003c/p>\n\u003cp>Though Princes William and Harry also deal with public scrutiny—and Prince Charles has certainly had his fair share—there is an underlying sense left over from their younger years that, unless they are doing something particularly egregious (think \u003ca href=\"https://www.eonline.com/fr/news/340478/prince-harry-naked-vegas-photos-anatomy-of-a-royal-scandal\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Harry\u003c/a> in Las Vegas), Princess Diana’s boys should be left alone. This is in part because, unlike their wives, they didn’t choose their high profile positions. There’s something about the issue of consciously choosing to join the royal ranks that seems to make wives fair game. The fact that Markle and Middleton are the first so-called “commoners” to do so has exacerbated matters, as has \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a28771396/jessica-mulroney-meghan-markle-racist-bullies/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s position\u003c/a> as the first royal woman of color \u003ca href=\"https://aaregistry.org/story/englands-first-black-queen-sophie-charlotte-born/\" target=\"_blank\" rel=\"noopener noreferrer\">since the 18th Century\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it stands, Markle is reported to be “\u003ca href=\"https://www.vanityfair.com/style/2019/08/meghan-markle-smartworks-instagram-story-private-jet\" target=\"_blank\" rel=\"noopener noreferrer\">unfazed\u003c/a>” by the relentless criticism. Good job too, given that the bullying of Middleton only ceased when she arrived. Markle now faces a future in which being bullied will simply be part of her everyday reality. Sadly for her, until Prince George starts dating in about a decade, there’s no one left to shift the spotlight off her.\u003c/p>\n\n",
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"excerpt": "For years, tabloids have scrutinized and mocked the women who've married into the royal family.",
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"title": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives | KQED",
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"headline": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Brits who have grown up observing what happens to women who marry into the royal family, the ongoing bullying of Meghan Markle is miserable to watch but par for the course.\u003c/p>\n\u003cp>Before her wedding, excitement that an American woman of color was marrying into the UK’s most prestigious family reached fever pitch. Around the world, an estimated \u003ca href=\"https://www.nowtolove.com.au/royals/british-royal-family/meghan-markle-feud-53096\" target=\"_blank\" rel=\"noopener noreferrer\">1.9 billion\u003c/a> people\u003ca href=\"https://www.kqed.org/pop/103656/i-stayed-up-all-night-to-watch-the-royal-wedding-so-you-didnt-have-to\" target=\"_blank\" rel=\"noopener noreferrer\"> stayed glued to their TVs\u003c/a> to watch Prince Harry put a ring on it. At the time, Markle was described as “\u003ca href=\"https://www.youtube.com/watch?v=IM9u8PRJZyM\" target=\"_blank\" rel=\"noopener noreferrer\">radiant\u003c/a>” and “\u003ca href=\"https://www.usmagazine.com/celebrity-news/news/duchess-meghan-was-a-regal-beauty-at-royal-wedding-bff-says/\" target=\"_blank\" rel=\"noopener noreferrer\">a regal beauty\u003c/a>.” Cute reports quickly emerged that she was so close with Queen Elizabeth II that she was calling her “\u003ca href=\"https://www.her.ie/celeb/meghan-markle-nickname-queen-cute-408880\" target=\"_blank\" rel=\"noopener noreferrer\">mama\u003c/a>” instead of the traditional “ma’am.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within months, that excitement had given way to rumors of prima donna behavior (including “\u003ca href=\"https://www.dailymail.co.uk/news/article-6450545/Hunt-Palace-mole-revealed-news-rift-Kate-Meghan.html\" target=\"_blank\" rel=\"noopener noreferrer\">being brusque with servants\u003c/a>“), controversies over \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/meghan-markle-disturbed-by-father-thomas-markle-staging-photos/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s treatment of her estranged father\u003c/a> and anger over her \u003ca href=\"https://www.huffpost.com/entry/prince-william-kate-middleton-fly-commercial_n_5d5d8a5de4b0701d280cd079\" target=\"_blank\" rel=\"noopener noreferrer\">taking private jets\u003c/a>. Most recently (and bizarrely), she was even blamed for Serena Williams losing at the US Open.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing pile-on might be \u003ca href=\"https://twitter.com/Pink/status/1163658843554893826\" target=\"_blank\" rel=\"noopener noreferrer\">shocking for Americans\u003c/a>, but everything happening to Meghan Markle right now has happened before, and repeatedly, to every woman who has ever married into Britain’s royal family—even down to being called a jinx. (In 2005, the term was used in both \u003cem>The Daily Express\u003c/em> and \u003cem>The Sun\u003c/em> newspapers about Camilla Parker Bowles’ imminent wedding to Prince Charles. In 2010, \u003cem>The Daily Star\u003c/em> used the word in relation to Princess Diana’s \u003ca href=\"https://www.dailystar.co.uk/news/latest-news/jinxed-princess-diana-ring-ritual-18257588\" target=\"_blank\" rel=\"noopener noreferrer\">engagement ring\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before the target moved to Meghan Markle’s back, Kate Middleton was the focus of appalling treatment by the press and public. For most of her and Prince William’s courtship, she was portrayed in the British tabloids as “\u003ca href=\"https://www.cheatsheet.com/entertainment/kate-middleton-nickname-waity-katie.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Waity Katie\u003c/a>“—a sad figure desperate to get to the throne by any means necessary. Her perceived \u003ca href=\"https://www.chatelaine.com/living/waity-katie-or-lazy-katie-kate-middleton-quits-her-job-to-become-a-royal/\" target=\"_blank\" rel=\"noopener noreferrer\">lack of career ambitions\u003c/a> were a source of mockery. And an array of trivialities—in particular a photo of her \u003ca href=\"https://www.crfashionbook.com/celebrity/a25804498/kate-middleton-birthday-charity-dress/\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a sheer dress\u003c/a> in a college fashion show—were unfairly analyzed in relation to her worthiness as a future queen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In those pre-marriage days, Prince Harry’s ex-girlfriend, Chelsy Davy, was also subjected to harsh scrutiny during the seven years they were on-again, off-again. Davy was frequently labeled “\u003ca href=\"https://www.celebitchy.com/153314/chelsy_davy_is_going_to_be_dressed_inappropriately_for_the_wedding_of_course/\" target=\"_blank\" rel=\"noopener noreferrer\">trashy\u003c/a>,” and mocked endlessly over her appearance (in particular after one unfortunate \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-1127222/The-future-truly-orange-newly-single-fake-tan-fan-Chelsy-Davy.html\" target=\"_blank\" rel=\"noopener noreferrer\">fake tan\u003c/a>). Even after she attended Prince Harry and Markle’s wedding with \u003ca href=\"https://www.bustle.com/p/prince-harry-reportedly-called-chelsy-davy-before-the-royal-wedding-its-still-none-of-your-business-9194271\" target=\"_blank\" rel=\"noopener noreferrer\">a big smile on her face\u003c/a>, she was turned into a meme.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The royal biography \u003cem>Harry: Conversations with the Prince\u003c/em> detailed \u003ca href=\"https://www.closerweekly.com/posts/chelsy-davy-dumped-prince-harry-prince-william-kate-middleton-wedding-164527/\" target=\"_blank\" rel=\"noopener noreferrer\">Davy’s reluctance\u003c/a> to make a lifelong commitment to such a high profile relationship. No wonder she looked so stressed in that church, knowing how many eyes were on her. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Far exceeding what William and Harry’s romantic partners have been subjected to is the sheer unbridled hatred reserved for their father’s wife, Camilla Parker Bowles. The Palace’s struggle to get the public on board with the woman Princess Diana famously referred to as the “\u003ca href=\"https://www.youtube.com/watch?v=Ocw_OXfZckU\" target=\"_blank\" rel=\"noopener noreferrer\">third person\u003c/a>” in her and Charles’ marriage has been immense. And while Charles’ ascension to the throne has undoubtedly been delayed for years because of it, he has not been subjected to the kinds of personal barbs continually thrown in Bowles’ direction.\u003c/p>\n\u003cp>Until fairly recently, when Bowles wasn’t having her \u003ca href=\"https://www.pinterest.com/pin/388365167848053915/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">looks insulted\u003c/a>, she was portrayed almost exclusively as an adulterous she-devil. The British public may no longer refer to her as “\u003ca href=\"https://www.express.co.uk/news/royal/1074824/camilla-parker-bowles-news-Yorkshire-Pudding-duchess-of-cornwall-transformation-spt\" target=\"_blank\" rel=\"noopener noreferrer\">the most hated woman in Britain\u003c/a>” but the “\u003ca href=\"https://www.ibtimes.com/camilla-parker-bowles-branded-homewrecker-blamed-princess-dianas-suffering-birthday-2807509\" target=\"_blank\" rel=\"noopener noreferrer\">homewrecker\u003c/a>” tag follows her to this day.\u003c/p>\n\u003cp>Bowles’ problems were exacerbated by the public obsession with, and posthumous canonization of, Princess Diana. Because of the manner of Diana’s death, we acutely remember the paparazzi’s obsession with her but forget what caused that hounding in the first place: a public hungry to know her every move, and a press happy to \u003ca href=\"https://www.today.com/news/princess-diana-s-iconic-skirt-moment-photographer-arthur-edwards-shares-t111013\" target=\"_blank\" rel=\"noopener noreferrer\">body shame\u003c/a>, \u003ca href=\"https://people.com/archive/cover-story-diss-and-tell-vol-42-no-16/\" target=\"_blank\" rel=\"noopener noreferrer\">slut shame\u003c/a> and criticize her \u003ca href=\"https://lisawallerrogers.com/tag/british-royal-familynobles/page/4/\" target=\"_blank\" rel=\"noopener noreferrer\">taste in men\u003c/a> on a near-daily basis. \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1560857/Princess-Diana-Editors-admit-guilt-over-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">Guilt\u003c/a> over how it treated her in life, it has been suggested, played a role in the British public’s unprecedented outpouring of grief after her death.\u003c/p>\n\u003cfigure id=\"attachment_13866161\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/duchpork.jpg\" alt=\"'The News of the World' used Fergie's cruelest nickname, "Duchess of Pork," in a 2010 report about her cash for royal access scandal.\" width=\"240\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/duchpork-160x212.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">‘The News of the World’ used Fergie’s cruelest nickname, “Duchess of Pork,” in a 2010 report about her cash for royal access scandal.\u003c/figcaption>\u003c/figure>\n\u003cp>Though she was granted fewer column inches, Diana’s sister-in-law, Sarah “Fergie” Ferguson—who married Charles’ brother, Prince Andrew, in 1986—was subjected to a jaw-dropping degree of cruelty. At one point, the tabloid obsession with her (perfectly average) weight was so intense, Fergie was dubbed “\u003ca href=\"https://eng.amomama.com/161384-princess-beatrices-childhood-issues-that.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Duchess of Pork\u003c/a>” (a pun on her official “Duchess of York” title). Speaking to the \u003ca href=\"https://soundcloud.com/gemma-and-emma-podcast/tlnh-sarah-duchess-of-york\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gemma & Emma\u003c/em>\u003c/a> podcast in 2017, Ferguson recalled: “One of the worst headlines said 82 percent would rather sleep with a goat than Fergie. It’s never left me.”\u003c/p>\n\u003cp>The thread that unites all of these royal wives, however, is one of tabloid journalism’s favorite tropes: the catfight. This year, in an essay for \u003cem>Hello!\u003c/em> magazine, Sarah Ferguson recalled how she and Princess Diana were frequently \u003ca href=\"https://www.eonline.com/news/1014451/the-heartbreaking-truth-about-fergie-vs-diana-why-the-pitting-of-meghan-markle-against-kate-middleton-hasn-t-reached-that-level-yet\" target=\"_blank\" rel=\"noopener noreferrer\">pitted against each other\u003c/a> by the press, despite their very close friendship. Alleged wars between \u003ca href=\"https://www.newidea.com.au/sarah-ferguson-and-camilla-parker-bowles-feud\" target=\"_blank\" rel=\"noopener noreferrer\">Fergie and Parker Bowles\u003c/a> have surfaced in the media more recently.\u003c/p>\n\u003cp>Predictably, a \u003ca href=\"https://www.express.co.uk/news/royal/1168107/Royal-feud-Meghan-Markle-Prince-Harry-Kate-Middleton-royal-rift-news\" target=\"_blank\" rel=\"noopener noreferrer\">supposed feud\u003c/a> between Markle and Middleton dominated the press for months after Markle’s wedding, and was blamed for causing a rift between their otherwise close husbands. Middleton has since been given \u003ca href=\"https://www.express.co.uk/news/royal/1163007/Kate-Middleton-vs-Meghan-Markle-feud-royal-rift-over\" target=\"_blank\" rel=\"noopener noreferrer\">credit for ending the “feud”\u003c/a>—probably because that portrayal lines up with the conciliatory image created for her in the years when she was still being pitted against Davy. Back then, Davy was portrayed as \u003ca href=\"https://www.cheatsheet.com/entertainment/why-prince-harrys-ex-chelsy-davy-refused-to-be-friends-with-kate-middleton.html/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly rejecting Kate\u003c/a>‘s attempts at friendship—a storyline that served to reinforce the press’s portrayal of Middleton as a doormat and Davy as low class.\u003c/p>\n\u003cp>Though Princes William and Harry also deal with public scrutiny—and Prince Charles has certainly had his fair share—there is an underlying sense left over from their younger years that, unless they are doing something particularly egregious (think \u003ca href=\"https://www.eonline.com/fr/news/340478/prince-harry-naked-vegas-photos-anatomy-of-a-royal-scandal\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Harry\u003c/a> in Las Vegas), Princess Diana’s boys should be left alone. This is in part because, unlike their wives, they didn’t choose their high profile positions. There’s something about the issue of consciously choosing to join the royal ranks that seems to make wives fair game. The fact that Markle and Middleton are the first so-called “commoners” to do so has exacerbated matters, as has \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a28771396/jessica-mulroney-meghan-markle-racist-bullies/\" target=\"_blank\" rel=\"noopener noreferrer\">Markle’s position\u003c/a> as the first royal woman of color \u003ca href=\"https://aaregistry.org/story/englands-first-black-queen-sophie-charlotte-born/\" target=\"_blank\" rel=\"noopener noreferrer\">since the 18th Century\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it stands, Markle is reported to be “\u003ca href=\"https://www.vanityfair.com/style/2019/08/meghan-markle-smartworks-instagram-story-private-jet\" target=\"_blank\" rel=\"noopener noreferrer\">unfazed\u003c/a>” by the relentless criticism. Good job too, given that the bullying of Middleton only ceased when she arrived. Markle now faces a future in which being bullied will simply be part of her everyday reality. Sadly for her, until Prince George starts dating in about a decade, there’s no one left to shift the spotlight off her.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=296&v=Kk9NkwFmDN4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\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/Kk9NkwFmDN4'\n title='//www.youtube.com/embed/Kk9NkwFmDN4'\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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"title": "Why Fashion Expert Tan France Nearly Turned Down 'Queer Eye'",
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"content": "\u003cp>When fashion designer Tan France got the call to audition for the Netflix makeover series \u003cem>Queer Eye, \u003c/em>his initial reaction was to say no. France, the gay son of Pakistani-Muslim immigrants, didn’t want to take on the burden of representing his community—especially on television.\u003c/p>\n\u003cp>“The thought of being one of the very first openly gay South Asian men on a major show. … That pressure was so hard to handle,” he says. “The pressure of being one of the first to do something is massively stressful.”\u003c/p>\n\u003cfigure id=\"attachment_13866204\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg\" alt=\"'Naturally Tan' by Tan France\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85-160x243.jpg 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Naturally Tan’ by Tan France \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then France began to reflect on the racism he had experienced throughout his life. Growing up in a small town in England, bullies slapped him in the face, punched him in the gut and called him racist slurs. After the terrorist attacks of Sept. 11, 2001, he was harassed and called a “terrorist” on the street. He is still routinely questioned by TSA when he travels.\u003c/p>\n\u003cp>As France thought about these experiences, he began to reconsider auditioning for \u003cem>Queer Eye: \u003c/em>“I could have an opportunity to change the narrative for my people,” he says. “And so that’s why I decided to take the actual audition. … I’ve got to continue to show that Pakistanis are wonderful people, that we are caring people.”\u003c/p>\n\u003cp>France reflects on his childhood, his career in fashion and on his role on \u003cem>Queer Eye\u003c/em> in the new memoir, \u003cem>Naturally Tan. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On growing up Pakistani in the U.K., and being bullied as a kid \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the age of five or six, when you get hit for your skin color, it makes no sense, because you don’t see that as a problem. Violence was ever-present in my life. That was something I never escaped, I just saw it as normal. … I remember saying this to my husband, that I was never bullied as a kid, and then I would talk about my childhood and he was like, “You’ve said you haven’t been bullied but that absolutely is bullying!” The strange thing is, we never saw it as bullying. It was just a matter of fact. … I don’t think anyone ever noticed [I was gay], I think that they were just so consumed with my color that they just seemed to lose sight of the fact that I was also homosexual.\u003c/p>\n\u003cp>\u003cstrong>On being exposed to fashion at a young age because his grandfather owned a denim factory \u003c/strong>\u003c/p>\n\u003cp>They were making denim [with] Disney prints on them, and so I was able to experience Western clothing like most South Asian kids will never have the luxury of doing. I was able to see how a piece of fabric turns into a garment that you will actually wear, and so I was privy to the ins and outs of the process. And at the end of that process I got to keep some of those things that were slightly off — like a stitch was wrong or a color was off—those things I got to keep. So I was able to experiment with clothes more so than most people. Even though I wasn’t allowed to wear it around the house, I was still exposed to that.\u003c/p>\n\u003cp>\u003cstrong>On experiencing racism after the Sept. 11 attacks \u003c/strong>\u003c/p>\n\u003cp>I saw the planes going into the towers over and over again on the news and I felt immediate dread, because it was so clear what the message was: that it’s Muslims. There was a lot of talk about Pakistan and Afghanistan. I’d already experienced 17 years of racism for being Pakistani, and the interesting thing was, I looked around the room at the other Pakistani people, and there weren’t that many, and every one of us had the exact same look of complete dread like, “Oh no, we’re going to pay for this.” And it happened immediately.\u003c/p>\n\u003cp>\u003cstrong>On the stress of running three fashion businesses and the toll it took on his mental health\u003c/strong>\u003c/p>\n\u003cp>I had built up these three businesses that, thankfully, were doing incredibly well. But the production was getting more and more problematic, and the thought of continuing on with that was just too much to handle. And so I got really depressed. … I never experienced that before. I don’t suffer bouts of depression. I’m one of the most positive people I know. I always can see a way out of a situation and how to get out of a situation to make myself happy again. But with that I couldn’t see a time when I was going to be happy in business. So I started to really think of how I could solve the problem. It wasn’t really solving the problem, it was just getting out of the situation, and getting out of life.\u003c/p>\n\u003cp>And so I had a moment one day … on my way home from work, I called my husband and I told him that I need him to talk to me and help me. I feel like I want to drive off this bridge and I’m almost positive I’m going to do this if he’s not there for me. He’s wonderful. He’s an angel sent down from heaven, and he talked me through it, and urged me to just get home as soon as possible. He was going to leave work and come home to make sure I was OK, and then when I got home his answer was simple. It was just, “Let them go. You don’t have anything to prove.”\u003c/p>\n\u003cp>I’ve always been the kind of person my whole life that has felt I have something to prove and … I know it’s because of my childhood and the amount of abuse we suffered and I suffered, that I’ve always felt like I had to prove something and I feel that even to this day. Every day when I get out of bed and I work as hard as I do, it’s to prove my worth. And so he said, “You don’t have to prove yourself in this business anymore. You’ve made it. Your businesses are successful. Your plan was to always sell them maybe 20 years from now, but sell them now, get rid of them, we don’t need any more money.” And so I did.\u003c/p>\n\u003cp>\u003cstrong>On telling his Muslim family he was marrying a man \u003c/strong>\u003c/p>\n\u003cp>My dad died when I was young. He died just before I was 14 and I wasn’t out at the time, so he never would have known that I had desires to marry a man. My mom, when I told her, my mom is quite liberal, she practices her religion but she’s quite liberal and … is quite docile. She just wants to keep the peace and go with the flow, and as long as everyone’s happy she’s fine. And so that was the case with me. I told her that I was marrying a man, she was like OK. … There was never a fight about it. There was never really a discussion really about it. She was just so matter-of-fact about it and has been ever since.\u003c/p>\n\u003cp>And so it was quite easy for me. … The fact that she had a love marriage [with my father,] she [too] had gone against our cultural norms, which, back in the day—this was in the ’70s—was shocking, absolutely shocking. She was probably one of the very few people in her community, if not in her extended family, who would have had a love marriage. And so I think that that probably made it easier for her to understand.\u003c/p>\n\u003cp>But she always knew that I was the black sheep of the family. She always knew that I wasn’t going to have the same life as her other children. She knew from my very early age that I was nothing like her other children. She didn’t know how to articulate it, as I said, she’d never even heard the word “gay” before, but she just said I wasn’t like any of her other sons. … I was like her extra daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=54BVvP7zvDQ\u003c/p>\n\u003cp>\u003cstrong>On his initial reluctance to join the \u003c/strong>\u003cem>\u003cstrong>Queer Eye\u003c/strong>\u003c/em>\u003cstrong> cast \u003c/strong>\u003c/p>\n\u003cp>I was worried about the people that I know and love being attacked by people within our community. I wasn’t concerned about what Caucasian people might think of it, necessarily. It was what my own people would think of it, that they would be concerned that my family have a gay man who’s very openly gay, very unabashedly gay, so publicly. … In our culture you don’t represent yourself, you represent your family. And as far as my culture is concerned, when you are … “sinning” in their eyes, you are bringing shame to your community.\u003c/p>\n\u003cp>\u003cstrong>On how doing \u003c/strong>\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>has pushed his personal boundaries \u003c/strong>\u003c/p>\n\u003cp>Being around Jonathan Van Ness changed my boundaries! … I was always very, very much Westernized, but I’ve become more so with the things I will discuss. I was always quite foul mouthed. I’ve always been foul mouthed. And that’s just very typically English, especially in working-class culture, and my parents were definitely working class. … I have become more vulgar now, because … that’s the humor on set. We’re just a silly, playful bunch.\u003c/p>\n\u003cp>And actually I love that side of me now that’s able to just be free and talk about things that people are really going through. I was quite guarded before. … All the [\u003cem>Queer Ey\u003c/em>e] boys will say I’m the most bounded person they know. If I don’t want something to happen, if I do not want something discussed, if I do not want to be close, I will make it very clear. I set my intentions with people very clearly, very quickly, very early on. And that’s something that’s quite rare for Americans, I think. …\u003c/p>\n\u003cp>Please know that this is my personal opinion, but being foreign here in the U.S. I found that Americans are quite passive-aggressive when it comes to setting their true intentions when they first meet friends. But the British culture we were a lot more open about what we will accept or not accept from our friends and family, and so I think that’s quite jarring for the boys. So I’ve taught them my boundaries, but they’ve also pushed them, and the parts that have been pushed are for the better, as far as I’m concerned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey 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=Why+Fashion+Expert+Tan+France+Nearly+Turned+Down+%27Queer+Eye%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When fashion designer Tan France got the call to audition for the Netflix makeover series \u003cem>Queer Eye, \u003c/em>his initial reaction was to say no. France, the gay son of Pakistani-Muslim immigrants, didn’t want to take on the burden of representing his community—especially on television.\u003c/p>\n\u003cp>“The thought of being one of the very first openly gay South Asian men on a major show. … That pressure was so hard to handle,” he says. “The pressure of being one of the first to do something is massively stressful.”\u003c/p>\n\u003cfigure id=\"attachment_13866204\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg\" alt=\"'Naturally Tan' by Tan France\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85-160x243.jpg 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Naturally Tan’ by Tan France \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then France began to reflect on the racism he had experienced throughout his life. Growing up in a small town in England, bullies slapped him in the face, punched him in the gut and called him racist slurs. After the terrorist attacks of Sept. 11, 2001, he was harassed and called a “terrorist” on the street. He is still routinely questioned by TSA when he travels.\u003c/p>\n\u003cp>As France thought about these experiences, he began to reconsider auditioning for \u003cem>Queer Eye: \u003c/em>“I could have an opportunity to change the narrative for my people,” he says. “And so that’s why I decided to take the actual audition. … I’ve got to continue to show that Pakistanis are wonderful people, that we are caring people.”\u003c/p>\n\u003cp>France reflects on his childhood, his career in fashion and on his role on \u003cem>Queer Eye\u003c/em> in the new memoir, \u003cem>Naturally Tan. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On growing up Pakistani in the U.K., and being bullied as a kid \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the age of five or six, when you get hit for your skin color, it makes no sense, because you don’t see that as a problem. Violence was ever-present in my life. That was something I never escaped, I just saw it as normal. … I remember saying this to my husband, that I was never bullied as a kid, and then I would talk about my childhood and he was like, “You’ve said you haven’t been bullied but that absolutely is bullying!” The strange thing is, we never saw it as bullying. It was just a matter of fact. … I don’t think anyone ever noticed [I was gay], I think that they were just so consumed with my color that they just seemed to lose sight of the fact that I was also homosexual.\u003c/p>\n\u003cp>\u003cstrong>On being exposed to fashion at a young age because his grandfather owned a denim factory \u003c/strong>\u003c/p>\n\u003cp>They were making denim [with] Disney prints on them, and so I was able to experience Western clothing like most South Asian kids will never have the luxury of doing. I was able to see how a piece of fabric turns into a garment that you will actually wear, and so I was privy to the ins and outs of the process. And at the end of that process I got to keep some of those things that were slightly off — like a stitch was wrong or a color was off—those things I got to keep. So I was able to experiment with clothes more so than most people. Even though I wasn’t allowed to wear it around the house, I was still exposed to that.\u003c/p>\n\u003cp>\u003cstrong>On experiencing racism after the Sept. 11 attacks \u003c/strong>\u003c/p>\n\u003cp>I saw the planes going into the towers over and over again on the news and I felt immediate dread, because it was so clear what the message was: that it’s Muslims. There was a lot of talk about Pakistan and Afghanistan. I’d already experienced 17 years of racism for being Pakistani, and the interesting thing was, I looked around the room at the other Pakistani people, and there weren’t that many, and every one of us had the exact same look of complete dread like, “Oh no, we’re going to pay for this.” And it happened immediately.\u003c/p>\n\u003cp>\u003cstrong>On the stress of running three fashion businesses and the toll it took on his mental health\u003c/strong>\u003c/p>\n\u003cp>I had built up these three businesses that, thankfully, were doing incredibly well. But the production was getting more and more problematic, and the thought of continuing on with that was just too much to handle. And so I got really depressed. … I never experienced that before. I don’t suffer bouts of depression. I’m one of the most positive people I know. I always can see a way out of a situation and how to get out of a situation to make myself happy again. But with that I couldn’t see a time when I was going to be happy in business. So I started to really think of how I could solve the problem. It wasn’t really solving the problem, it was just getting out of the situation, and getting out of life.\u003c/p>\n\u003cp>And so I had a moment one day … on my way home from work, I called my husband and I told him that I need him to talk to me and help me. I feel like I want to drive off this bridge and I’m almost positive I’m going to do this if he’s not there for me. He’s wonderful. He’s an angel sent down from heaven, and he talked me through it, and urged me to just get home as soon as possible. He was going to leave work and come home to make sure I was OK, and then when I got home his answer was simple. It was just, “Let them go. You don’t have anything to prove.”\u003c/p>\n\u003cp>I’ve always been the kind of person my whole life that has felt I have something to prove and … I know it’s because of my childhood and the amount of abuse we suffered and I suffered, that I’ve always felt like I had to prove something and I feel that even to this day. Every day when I get out of bed and I work as hard as I do, it’s to prove my worth. And so he said, “You don’t have to prove yourself in this business anymore. You’ve made it. Your businesses are successful. Your plan was to always sell them maybe 20 years from now, but sell them now, get rid of them, we don’t need any more money.” And so I did.\u003c/p>\n\u003cp>\u003cstrong>On telling his Muslim family he was marrying a man \u003c/strong>\u003c/p>\n\u003cp>My dad died when I was young. He died just before I was 14 and I wasn’t out at the time, so he never would have known that I had desires to marry a man. My mom, when I told her, my mom is quite liberal, she practices her religion but she’s quite liberal and … is quite docile. She just wants to keep the peace and go with the flow, and as long as everyone’s happy she’s fine. And so that was the case with me. I told her that I was marrying a man, she was like OK. … There was never a fight about it. There was never really a discussion really about it. She was just so matter-of-fact about it and has been ever since.\u003c/p>\n\u003cp>And so it was quite easy for me. … The fact that she had a love marriage [with my father,] she [too] had gone against our cultural norms, which, back in the day—this was in the ’70s—was shocking, absolutely shocking. She was probably one of the very few people in her community, if not in her extended family, who would have had a love marriage. And so I think that that probably made it easier for her to understand.\u003c/p>\n\u003cp>But she always knew that I was the black sheep of the family. She always knew that I wasn’t going to have the same life as her other children. She knew from my very early age that I was nothing like her other children. She didn’t know how to articulate it, as I said, she’d never even heard the word “gay” before, but she just said I wasn’t like any of her other sons. … I was like her extra daughter.\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/54BVvP7zvDQ'\n title='//www.youtube.com/embed/54BVvP7zvDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On his initial reluctance to join the \u003c/strong>\u003cem>\u003cstrong>Queer Eye\u003c/strong>\u003c/em>\u003cstrong> cast \u003c/strong>\u003c/p>\n\u003cp>I was worried about the people that I know and love being attacked by people within our community. I wasn’t concerned about what Caucasian people might think of it, necessarily. It was what my own people would think of it, that they would be concerned that my family have a gay man who’s very openly gay, very unabashedly gay, so publicly. … In our culture you don’t represent yourself, you represent your family. And as far as my culture is concerned, when you are … “sinning” in their eyes, you are bringing shame to your community.\u003c/p>\n\u003cp>\u003cstrong>On how doing \u003c/strong>\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>has pushed his personal boundaries \u003c/strong>\u003c/p>\n\u003cp>Being around Jonathan Van Ness changed my boundaries! … I was always very, very much Westernized, but I’ve become more so with the things I will discuss. I was always quite foul mouthed. I’ve always been foul mouthed. And that’s just very typically English, especially in working-class culture, and my parents were definitely working class. … I have become more vulgar now, because … that’s the humor on set. We’re just a silly, playful bunch.\u003c/p>\n\u003cp>And actually I love that side of me now that’s able to just be free and talk about things that people are really going through. I was quite guarded before. … All the [\u003cem>Queer Ey\u003c/em>e] boys will say I’m the most bounded person they know. If I don’t want something to happen, if I do not want something discussed, if I do not want to be close, I will make it very clear. I set my intentions with people very clearly, very quickly, very early on. And that’s something that’s quite rare for Americans, I think. …\u003c/p>\n\u003cp>Please know that this is my personal opinion, but being foreign here in the U.S. I found that Americans are quite passive-aggressive when it comes to setting their true intentions when they first meet friends. But the British culture we were a lot more open about what we will accept or not accept from our friends and family, and so I think that’s quite jarring for the boys. So I’ve taught them my boundaries, but they’ve also pushed them, and the parts that have been pushed are for the better, as far as I’m concerned.\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 Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey 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=Why+Fashion+Expert+Tan+France+Nearly+Turned+Down+%27Queer+Eye%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland's Troubles",
"headTitle": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland’s Troubles | KQED",
"content": "\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UFmFuXH0IRY\u003c/p>\n\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P937Lic52NY\u003c/p>\n\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\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=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\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/UFmFuXH0IRY'\n title='//www.youtube.com/embed/UFmFuXH0IRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\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/P937Lic52NY'\n title='//www.youtube.com/embed/P937Lic52NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\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=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Constance Wu On Sisterhood, 'Hustlers' and Her Unprecedented Career",
"headTitle": "Constance Wu On Sisterhood, ‘Hustlers’ and Her Unprecedented Career | KQED",
"content": "\u003cp>When we meet Constance Wu’s character Destiny in the new movie \u003cem>Hustlers\u003c/em>, she’s the new dancer at a gentlemen’s club. She’s there because of economic circumstance, but we come to learn there’s more to her character.\u003c/p>\n\u003cp>“I think the deeper meaning of how she ends up in this job is that I think growing up, she and a lot of American girls are taught that their value and worth lies in their physical beauty and their sexuality,” Wu says. “And then it’s funny, because then when you exploit that value system to try to get by, to pay your rent, then you’re shamed for it. I mean, you think of what a stripper does: They’re using their bodies for entertainment. It’s exactly what an athlete does. But we more harshly judge one and shame one than the other.”\u003c/p>\n\u003cp>The movie, which is inspired by the true story of Jessica Pressler’s \u003cem>New York\u003c/em> magazine story \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html\">“The Hustlers at Scores,”\u003c/a> sees Ramona (Jennifer Lopez) take Destiny under her wing. And when their club’s Wall Street clientele begins to dry up after the financial crisis of 2008, the strip club employees scheme up a way to keep the money coming in.\u003c/p>\n\u003cp>The rest of the cast features some big names (Cardi B, Lizzo) and rising stars (Keke Palmer, Lili Reinhart, Trace Lysette). It’s written and directed by Lorene Scafaria. And for Wu, it’s the latest big role in a career that has recently seen her take star turns in the ABC sitcom \u003cem>Fresh off the Boat\u003c/em> and the blockbuster movie \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>In an interview, Wu talked about what attracted her to the role, working on a female-driven movie, and the state of play for women and people of color in Hollywood today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LUG2U-IxPx0\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why she took the role\u003c/strong>\u003c/p>\n\u003cp>I was actually really seeking a project that was about loneliness. I think a lot of people, they think, “Oh, she must have wanted to do this sexy, cool, fun movie.” But it’s just about a woman who is deeply lonely, because she has abandonment issues because her own mother left her when she was very young; so she has trust issues, so she can’t let anybody in. And Ramona, the character played by Jennifer Lopez, becomes like a mother figure to her. And I chose it because it tackles loneliness, but it sort of gets it on all sides. It’s the beginning of it, and then struggling through it, and then finally not feeling alone in the world, and then when you lose that again. It really was just such a dynamic story arc. …\u003c/p>\n\u003cp>I wasn’t lonely at that period in my life. I was actually doing great. But I do think loneliness is kind of pervasive in America right now—and in a way that we’re not recognizing. I think because politically, we’re so polarized. And also, social media just makes people lonely in a way they don’t realize because they’re still getting some kind of social stimulation—but it’s not tactile. So I think one of the best things that films or stories can do for us is to make people feel less alone with their own feelings. We’re so used to looking at these Instagram feeds where everyone has a perfect life. And what \u003cem>Hustlers\u003c/em> really does is it shows that this woman who, yeah, she looks really flashy, she’s a dancer, all this on the outside; but inside, she’s really lonely and she just wants a real friend. And I think that’s—if we’re going to find any type of healing in this country, it’s going to be by interacting with each other, not villainizing and shaming each other.\u003c/p>\n\u003cp>\u003cstrong>On acting in a movie that doesn’t pit two women against each other\u003c/strong>\u003c/p>\n\u003cp>No catfights. And the thing that I’ve always said is that traditionally, in a patriarchal society, whether it’s in the boardroom or in an action movie, there’s usually only one or two women. And I think that it’s the fact there seem to be so few positions available that makes somebody competitive. It’s the scarcity, not the gender. And I think working on \u003cem>Hustlers\u003c/em> really proved that women are not inherently catty or competitive, because we, on \u003cem>Hustlers\u003c/em>, we were all women: woman director, woman writer. And it was our table, you know? It was not patriarchal—it was matriarchal, I guess. And it was so great because so many times when I’m in an environment that’s a lot of men, I feel like I have to either be cutesy or girly or sexy, or I have to act like I’m one of the guys to fit in. …\u003c/p>\n\u003cp>And so when we were all in locker room scenes of \u003cem>Hustlers\u003c/em>—all women, all shapes and sizes, all different ages, all ethnicities—nobody had to pretend like they were one of the guys. We didn’t have to act really sexy. We could openly talk about, like, “Ugh, this boob is bigger than the other,” whatever. Just these things that we could just be open about, because we weren’t being assessed by our appearance in order to be allowed in the space—because it was our space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b6ZeMzDDlfo\u003c/p>\n\u003cp>\u003cstrong>On how her personal background affects her portrayal and career\u003c/strong>\u003c/p>\n\u003cp>I didn’t work in strip clubs back then, but I worked in restaurants a lot. I did bottle service for a club for a little bit. But yeah, I definitely related to the struggle that comes along, and the fear and scarcity complexes that come along, with not having a legacy in the place you grew up. Not growing up with privilege, but also just—there’s a psychological legacy that comes from knowing that you have ancestors, great-great-great-grandparents, who have been in this country and are of this country and have survived. I think it’s statistically proven that like if a kid has a parent who has gone to college, they’re more likely to go to college … I’ve said representation equals possibility, and sometimes the parents model that behavior.\u003c/p>\n\u003cp>But for me, I don’t have anybody in my family who ever entered show biz or the arts. And the path that I’ve sort of made for myself in this career is also something I haven’t really seen a model for, in terms of a role model for, exactly the way I’ve been trying to do it. So it can be scary, and it can ruffle feathers for sure. And I think that Destiny also doesn’t have the confidence of a legacy of lineage in the country, because her parents are immigrants, like mine were.\u003c/p>\n\u003cp>\u003cstrong>On living in the moment\u003c/strong>\u003c/p>\n\u003cp>I mean, I do this [acting] because I love it. … I think one of the best things an actor can have is sort of what they call being in the moment, which I naturally have—which is not always a good thing. So I think the reason I stayed in it is because I wasn’t thinking about the future. Because if I had systemically laid out all the possibilities and thought of the future, I don’t think I ever would have entered this profession at all.\u003c/p>\n\u003cp>And so to really live in the moment and not measure your words or actions based on anxieties of the future or worries of the past is a real fun gift to have when you’re acting. In life it has not always been so fun, because I can be really reactive and dramatic. So I’m just trying to honestly use this moment in this profession to learn more about myself and the kind of person I want to be and to forgive myself for mistakes.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://deadline.com/2019/05/constance-wu-fresh-off-the-boat-abc-renewal-twitter-profanity-1202612321/\">\u003cstrong>her recent response\u003c/strong>\u003c/a>\u003cstrong> to \u003c/strong>\u003cstrong>\u003cem>Fresh off the Boat \u003c/em>\u003c/strong>\u003cstrong>being renewed for another season, which was initially judged out of context, she says\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> It really broke my heart that my moment of heat, where I was just disappointed because I couldn’t do a play that I really wanted to do, that had an impact on the people who I love on this crew, and how some people might have perceived that it was a reflection of how I felt about the show. Which: nothing could be further from the truth, because I love the show and I love the people on it. I was just temporarily … I was just bummed because I’d been looking forward to doing this other project.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Do you think you got more of it because you’re a woman and a person of color?\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> What do you think? [laughing]\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> I don’t know. I thought I would ask the question and just put it there out there.\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> Yeah. I definitely think that there’s often harsher criticism … I think it was especially disturbing for some people because my career is kind of unprecedented. You know, I led the first Asian American network sitcom in Hollywood in over 20 years [\u003cem>Fresh off the Boat\u003c/em>], and then five years later I led the first all-Asian cast of a major studio Hollywood movie in 25 years [\u003cem>Crazy Rich Asians\u003c/em>]. But it’s funny—it’s like because I’ve gotten this position that wasn’t available at the table, I should never complain. …\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZQ-YX-5bAs0\u003c/p>\n\u003cp>I think a part of us should stop being grateful for scraps from the table and demand the whole table. Because it shouldn’t have been history that I was the first in that TV show or movie. It shouldn’t be historic that Hollywood made a story that gives an Asian American a full human experience. That should be regular.\u003c/p>\n\u003cp>\u003cstrong>On if Hollywood is trending in the right direction regarding women and people of color\u003c/strong>\u003c/p>\n\u003cp>I always compare it to exercising. It’s not like you can take one boot camp and then be fit for life. It’s a maintenance. So I think that we’ve gone through a bit of a boot camp in terms of understanding bias and institutional racism and stuff like that … and I think now you have to take the exercises you learned from boot camp, and apply them to your real choices in a way that makes you and everybody healthier.\u003c/p>\n\u003cp>I mean, it’s funny. I actually know a lot of guys who have been saying, like, “Oh, you know, it’s a great time in Hollywood for women.” And you know, male directors will say, like, “Oh, it’s really great to be a woman right now … I used to get all these jobs, and I can’t—it’s great, I’m glad” …\u003c/p>\n\u003cp>And there are many things to say to that. But one thing I would have liked to say is that it’s a great time for men. Because I think men are finally getting to hear these stories that they’ve been robbed of—these stories told from a woman’s point of view. And if you’re an artist, there’s nothing you want more than learning more about the human experience. So if you get to learn a perspective that you didn’t get growing up, how awesome. How awesome that you get that. But if you’re only worrying about me and my experience and what jobs I get, then: Well, there’s the problem. It’s like: The world is not centered in your experience. And the more experiences you get that are outside of your own are gonna improve your work. And then that will improve your integrity. And so I think it’s a great time for men because they have the opportunity to see and experience this content that they haven’t before.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lonely+In+The+Club%3A+Constance+Wu+On+%27Hustlers%27+And+Her+%27Unprecedented%27+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "Constance Wu On Sisterhood, 'Hustlers' and Her Unprecedented Career",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we meet Constance Wu’s character Destiny in the new movie \u003cem>Hustlers\u003c/em>, she’s the new dancer at a gentlemen’s club. She’s there because of economic circumstance, but we come to learn there’s more to her character.\u003c/p>\n\u003cp>“I think the deeper meaning of how she ends up in this job is that I think growing up, she and a lot of American girls are taught that their value and worth lies in their physical beauty and their sexuality,” Wu says. “And then it’s funny, because then when you exploit that value system to try to get by, to pay your rent, then you’re shamed for it. I mean, you think of what a stripper does: They’re using their bodies for entertainment. It’s exactly what an athlete does. But we more harshly judge one and shame one than the other.”\u003c/p>\n\u003cp>The movie, which is inspired by the true story of Jessica Pressler’s \u003cem>New York\u003c/em> magazine story \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html\">“The Hustlers at Scores,”\u003c/a> sees Ramona (Jennifer Lopez) take Destiny under her wing. And when their club’s Wall Street clientele begins to dry up after the financial crisis of 2008, the strip club employees scheme up a way to keep the money coming in.\u003c/p>\n\u003cp>The rest of the cast features some big names (Cardi B, Lizzo) and rising stars (Keke Palmer, Lili Reinhart, Trace Lysette). It’s written and directed by Lorene Scafaria. And for Wu, it’s the latest big role in a career that has recently seen her take star turns in the ABC sitcom \u003cem>Fresh off the Boat\u003c/em> and the blockbuster movie \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>In an interview, Wu talked about what attracted her to the role, working on a female-driven movie, and the state of play for women and people of color in Hollywood today.\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/LUG2U-IxPx0'\n title='//www.youtube.com/embed/LUG2U-IxPx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why she took the role\u003c/strong>\u003c/p>\n\u003cp>I was actually really seeking a project that was about loneliness. I think a lot of people, they think, “Oh, she must have wanted to do this sexy, cool, fun movie.” But it’s just about a woman who is deeply lonely, because she has abandonment issues because her own mother left her when she was very young; so she has trust issues, so she can’t let anybody in. And Ramona, the character played by Jennifer Lopez, becomes like a mother figure to her. And I chose it because it tackles loneliness, but it sort of gets it on all sides. It’s the beginning of it, and then struggling through it, and then finally not feeling alone in the world, and then when you lose that again. It really was just such a dynamic story arc. …\u003c/p>\n\u003cp>I wasn’t lonely at that period in my life. I was actually doing great. But I do think loneliness is kind of pervasive in America right now—and in a way that we’re not recognizing. I think because politically, we’re so polarized. And also, social media just makes people lonely in a way they don’t realize because they’re still getting some kind of social stimulation—but it’s not tactile. So I think one of the best things that films or stories can do for us is to make people feel less alone with their own feelings. We’re so used to looking at these Instagram feeds where everyone has a perfect life. And what \u003cem>Hustlers\u003c/em> really does is it shows that this woman who, yeah, she looks really flashy, she’s a dancer, all this on the outside; but inside, she’s really lonely and she just wants a real friend. And I think that’s—if we’re going to find any type of healing in this country, it’s going to be by interacting with each other, not villainizing and shaming each other.\u003c/p>\n\u003cp>\u003cstrong>On acting in a movie that doesn’t pit two women against each other\u003c/strong>\u003c/p>\n\u003cp>No catfights. And the thing that I’ve always said is that traditionally, in a patriarchal society, whether it’s in the boardroom or in an action movie, there’s usually only one or two women. And I think that it’s the fact there seem to be so few positions available that makes somebody competitive. It’s the scarcity, not the gender. And I think working on \u003cem>Hustlers\u003c/em> really proved that women are not inherently catty or competitive, because we, on \u003cem>Hustlers\u003c/em>, we were all women: woman director, woman writer. And it was our table, you know? It was not patriarchal—it was matriarchal, I guess. And it was so great because so many times when I’m in an environment that’s a lot of men, I feel like I have to either be cutesy or girly or sexy, or I have to act like I’m one of the guys to fit in. …\u003c/p>\n\u003cp>And so when we were all in locker room scenes of \u003cem>Hustlers\u003c/em>—all women, all shapes and sizes, all different ages, all ethnicities—nobody had to pretend like they were one of the guys. We didn’t have to act really sexy. We could openly talk about, like, “Ugh, this boob is bigger than the other,” whatever. Just these things that we could just be open about, because we weren’t being assessed by our appearance in order to be allowed in the space—because it was our space.\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/b6ZeMzDDlfo'\n title='//www.youtube.com/embed/b6ZeMzDDlfo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On how her personal background affects her portrayal and career\u003c/strong>\u003c/p>\n\u003cp>I didn’t work in strip clubs back then, but I worked in restaurants a lot. I did bottle service for a club for a little bit. But yeah, I definitely related to the struggle that comes along, and the fear and scarcity complexes that come along, with not having a legacy in the place you grew up. Not growing up with privilege, but also just—there’s a psychological legacy that comes from knowing that you have ancestors, great-great-great-grandparents, who have been in this country and are of this country and have survived. I think it’s statistically proven that like if a kid has a parent who has gone to college, they’re more likely to go to college … I’ve said representation equals possibility, and sometimes the parents model that behavior.\u003c/p>\n\u003cp>But for me, I don’t have anybody in my family who ever entered show biz or the arts. And the path that I’ve sort of made for myself in this career is also something I haven’t really seen a model for, in terms of a role model for, exactly the way I’ve been trying to do it. So it can be scary, and it can ruffle feathers for sure. And I think that Destiny also doesn’t have the confidence of a legacy of lineage in the country, because her parents are immigrants, like mine were.\u003c/p>\n\u003cp>\u003cstrong>On living in the moment\u003c/strong>\u003c/p>\n\u003cp>I mean, I do this [acting] because I love it. … I think one of the best things an actor can have is sort of what they call being in the moment, which I naturally have—which is not always a good thing. So I think the reason I stayed in it is because I wasn’t thinking about the future. Because if I had systemically laid out all the possibilities and thought of the future, I don’t think I ever would have entered this profession at all.\u003c/p>\n\u003cp>And so to really live in the moment and not measure your words or actions based on anxieties of the future or worries of the past is a real fun gift to have when you’re acting. In life it has not always been so fun, because I can be really reactive and dramatic. So I’m just trying to honestly use this moment in this profession to learn more about myself and the kind of person I want to be and to forgive myself for mistakes.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://deadline.com/2019/05/constance-wu-fresh-off-the-boat-abc-renewal-twitter-profanity-1202612321/\">\u003cstrong>her recent response\u003c/strong>\u003c/a>\u003cstrong> to \u003c/strong>\u003cstrong>\u003cem>Fresh off the Boat \u003c/em>\u003c/strong>\u003cstrong>being renewed for another season, which was initially judged out of context, she says\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> It really broke my heart that my moment of heat, where I was just disappointed because I couldn’t do a play that I really wanted to do, that had an impact on the people who I love on this crew, and how some people might have perceived that it was a reflection of how I felt about the show. Which: nothing could be further from the truth, because I love the show and I love the people on it. I was just temporarily … I was just bummed because I’d been looking forward to doing this other project.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Do you think you got more of it because you’re a woman and a person of color?\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> What do you think? [laughing]\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> I don’t know. I thought I would ask the question and just put it there out there.\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> Yeah. I definitely think that there’s often harsher criticism … I think it was especially disturbing for some people because my career is kind of unprecedented. You know, I led the first Asian American network sitcom in Hollywood in over 20 years [\u003cem>Fresh off the Boat\u003c/em>], and then five years later I led the first all-Asian cast of a major studio Hollywood movie in 25 years [\u003cem>Crazy Rich Asians\u003c/em>]. But it’s funny—it’s like because I’ve gotten this position that wasn’t available at the table, I should never complain. …\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/ZQ-YX-5bAs0'\n title='//www.youtube.com/embed/ZQ-YX-5bAs0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think a part of us should stop being grateful for scraps from the table and demand the whole table. Because it shouldn’t have been history that I was the first in that TV show or movie. It shouldn’t be historic that Hollywood made a story that gives an Asian American a full human experience. That should be regular.\u003c/p>\n\u003cp>\u003cstrong>On if Hollywood is trending in the right direction regarding women and people of color\u003c/strong>\u003c/p>\n\u003cp>I always compare it to exercising. It’s not like you can take one boot camp and then be fit for life. It’s a maintenance. So I think that we’ve gone through a bit of a boot camp in terms of understanding bias and institutional racism and stuff like that … and I think now you have to take the exercises you learned from boot camp, and apply them to your real choices in a way that makes you and everybody healthier.\u003c/p>\n\u003cp>I mean, it’s funny. I actually know a lot of guys who have been saying, like, “Oh, you know, it’s a great time in Hollywood for women.” And you know, male directors will say, like, “Oh, it’s really great to be a woman right now … I used to get all these jobs, and I can’t—it’s great, I’m glad” …\u003c/p>\n\u003cp>And there are many things to say to that. But one thing I would have liked to say is that it’s a great time for men. Because I think men are finally getting to hear these stories that they’ve been robbed of—these stories told from a woman’s point of view. And if you’re an artist, there’s nothing you want more than learning more about the human experience. So if you get to learn a perspective that you didn’t get growing up, how awesome. How awesome that you get that. But if you’re only worrying about me and my experience and what jobs I get, then: Well, there’s the problem. It’s like: The world is not centered in your experience. And the more experiences you get that are outside of your own are gonna improve your work. And then that will improve your integrity. And so I think it’s a great time for men because they have the opportunity to see and experience this content that they haven’t before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lonely+In+The+Club%3A+Constance+Wu+On+%27Hustlers%27+And+Her+%27Unprecedented%27+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash",
"headTitle": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash | KQED",
"content": "\u003cp>Last week, the woman sexually assaulted by former “Stanford swimmer” \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>, whose 2016 victim impact statement shook the nation, revealed her identity and announced the imminent release of her memoir. Her name is Chanel Miller, and the timing of her book, aptly titled \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Know My Name\u003c/i>\u003c/a>, could not be better, coming in the middle of an intensifying backlash against the #MeToo movement.\u003c/p>\n\u003cp>The tide has been turning for months. Just last week, Scarlett Johansson asserted in \u003ca href=\"https://www.hollywoodreporter.com/features/scarlett-johansson-talks-woody-allen-elizabeth-warren-black-widow-1235618\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> that she “loves” and “believes” accused \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">child-molester Woody Allen\u003c/a> and would “work with him anytime.”\u003c/p>\n\u003cp>Billy Bush is about to return to television as host of \u003cem>Extra\u003c/em>, after being fired from NBC’s \u003cem>Today\u003c/em> for giggling his way through a backstage recording of Donald Trump bragging about sexual assault. “I got taken out,” \u003ca href=\"https://www.hollywoodreporter.com/news/billy-bush-says-trump-access-hollywood-video-was-weaponized-1238226?utm_source=twitter&utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">he just told Gayle King\u003c/a> on \u003cem>CBS This Morning\u003c/em>, “but I wasn’t the target.”\u003c/p>\n\u003cp>Last month, Netflix premiered \u003ca href=\"https://www.netflix.com/title/81140577\" target=\"_blank\" rel=\"noopener noreferrer\">a special\u003c/a> by self-identified “victim blamer” Dave Chapelle, in which he declared “I got a f-cking Me Too headache” and defended Louis C.K. He also attempted to draw a direct correlation between women speaking up and the attack on reproductive rights currently unfolding nationally. “What the f-ck is your agenda, ladies?” he asked. “Is sexism dead? No, in fact, the opposite happened.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vI19NamI_OE\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> ran a sympathetic profile of disgraced senator Al Franken, with Jane Mayer writing that Franken “told me that his therapist had likened his experience to ‘what happens when primates are shunned and humiliated by the rest of the other primates.’”\u003c/p>\n\u003cp>That same month, Uma Thurman’s revelations about shocking \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\" target=\"_blank\" rel=\"noopener noreferrer\">working conditions under director Quentin Tarantino\u003c/a> were effectively wiped from the public consciousness with the release of his latest movie, \u003cem>Once Upon a Time in Hollywood\u003c/em>—a film currently rated 85-percent fresh on Rotten Tomatoes.\u003c/p>\n\u003cp>[pullquote size='large' align='right']‘This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence.’[/pullquote]\u003c/p>\n\u003cp>Inevitable for a story featuring a fictionalized Sharon Tate, the press tour for Tarantino’s movie also put Roman Polanski back in the spotlight. Not for being \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">a fugitive\u003c/a>, or a statutory rapist; rather because Tarantino is a “\u003ca href=\"https://www.indiewire.com/2019/05/once-upon-a-time-in-hollywood-quentin-tarantino-roman-polanski-1202143803/\" target=\"_blank\" rel=\"noopener noreferrer\">fan of Roman Polanski\u003c/a>’s work, but particularly \u003cem>Rosemary’s Baby\u003c/em>.” Then, despite his 2018 expulsion from the Motion Picture Academy, Polanski then got himself a \u003ca href=\"https://www.vanityfair.com/hollywood/2019/08/roman-polanski-venice-jaccuse-standing-ovation\" target=\"_blank\" rel=\"noopener noreferrer\">standing ovation\u003c/a> and the Grand Jury Prize at the Venice Film Festival for his latest film, \u003cem>J’Accuse\u003c/em>.\u003c/p>\n\u003cp>To make matters worse, several research papers have emerged suggesting women will be punished for speaking up about sexual harassment and assault. In May, the \u003ca href=\"https://leanin.org/sexual-harassment-backlash-survey-results\" target=\"_blank\" rel=\"noopener noreferrer\">Lean In Institute reported\u003c/a> “60 percent of managers who are men are uncomfortable participating in a common work activity with a woman, such as mentoring, working alone, or socializing together. That’s a 32 percent jump from a year ago.”\u003c/p>\n\u003cp>Then a \u003cem>Harvard Business Review\u003c/em> story titled “\u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">The #MeToo Backlash\u003c/a>,” described how both male and female professionals from “a wide range of industries” have changed their behavior towards women in the workplace in a negative way, post-#MeToo. The report primarily focused on the fact that 41 percent of men and 57 percent of women agreed that “men in general will be more reluctant to have one-on-one meetings with women.”\u003c/p>\n\u003cp>This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence. It’s a collective suggestion that #MeToo had its moment, but the movement’s gone too far now. It’s an indirect request for women to go back to their corners and leave all of these poor, frightened men alone.\u003c/p>\n\u003cfigure id=\"attachment_13865782\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png\" alt=\"Chanel Miller, appearing on '60 Minutes.'\" width=\"243\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png 243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM-160x227.png 160w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">Chanel Miller, appearing on ’60 Minutes.’ \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chanel Miller—known only as Emily Doe until now—had the distinction of being one of the first to speak out loudly enough to be heard internationally. Her case predated #MeToo, but her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">searing victim impact statement\u003c/a>, first published by Buzzfeed, arguably provided the first spark for the incendiary movement that would explode a year later.\u003c/p>\n\u003cp>Because so much has happened between her case and now, it’s easy to forget that it was she alone who ultimately inspired the campaigns that successfully \u003ca href=\"https://harvardlawreview.org/2019/02/california-judge-recalled-for-sentence-in-sexual-assault-case/\" target=\"_blank\" rel=\"noopener noreferrer\">unseated Judge Aaron Persky\u003c/a> (the man responsible for giving Turner a sentence that allowed him to get out of county jail after only three months), \u003cem>and\u003c/em> got a bill signed into California law that imposes \u003ca href=\"https://www.theguardian.com/us-news/2016/sep/30/stanford-sexual-assault-case-california-rape-law\" target=\"_blank\" rel=\"noopener noreferrer\">mandatory minimum sentences\u003c/a> for sexual assault cases. It was the first case this century to so prominently highlight the issues of white male privilege and a legal system that is prone to disregarding the suffering of sexual assault survivors.\u003c/p>\n\u003cp>Miller reportedly began writing \u003cem>Know My Name\u003c/em> in 2017, using the book to piece together exactly what had happened to her, and heal from it. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/books/chanel-miller-brock-turner-assault-stanford.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the focus of Miller’s writing expanded “as conversations about sexual violence moved increasingly to the fore” of the national consciousness.\u003c/p>\n\u003cp>What has been obvious in the last few months is that a sizable swath of America has lost sight of the deeply personal, private and systemic nature of sexual assault and harassment that started #MeToo in the first place. Over time—and thanks to the sheer number of famous men brought down by the movement—the focus has shifted disproportionately to the most prominent celebrity cases.\u003c/p>\n\u003cp>Now that men like Bill Cosby, Jeffrey Epstein and Harvey Weinstein (whose \u003ca href=\"https://www.usatoday.com/story/life/2019/04/26/harvey-weinstein-sex-crimes-case-public-media-court-high-stakes/3542755002/\" target=\"_blank\" rel=\"noopener noreferrer\">trial starts this week\u003c/a>) have contended with the legal consequences of their actions, there has been an increasing sense that the biggest monsters have been brought down and the hardest work has already been done. Miller’s return is well-timed to drag the spotlight off the most grotesque men brought down by #MeToo and back onto ordinary, everyday survivors. It gives the nation a much-needed reminder that this was never really only about bad behavior within celebrity circles.\u003c/p>\n\u003cfigure id=\"attachment_13865848\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9780735223707.jpg\" alt=\"'Know My Name' by Chanel Miller. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Know My Name’ by Chanel Miller. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Miller’s book is also bound to do—and what Hulu’s excellent new Harvey Weinstein documentary, \u003ca href=\"https://www.hulu.com/movie/untouchable-0204d474-dcce-44f3-af25-d1cca05aba3b\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Untouchable\u003c/em>\u003c/a>, just did—is to explain once more that the lasting trauma sexual assault survivors endure goes on long after trials end, the media attention dissipates and the conversations move elsewhere. It will reemphasize the importance of pushing women’s voices to the forefront and the good things that happen when we make space for that. It will also be an essential reminder of the injustices that women have historically faced, and continue to face.\u003c/p>\n\u003cp>One of the things that has been consistently buried in the reports about the negative workplace consequences of #MeToo is the undoubtedly \u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">positive news\u003c/a> that: “74 percent of women said they thought they would be more willing now to speak out against harassment, and 77 percent of men anticipated being more careful about potentially inappropriate behavior.” That is exactly the kind of progress that we must not lose sight of if #MeToo is to continue to thrive.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.refinery29.com/en-us/2018/05/197938/ashley-judd-healing-sexual-assault-times-up\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Judd made plain\u003c/a> at a #TimesUp event last year: “We use our voices, we weather retaliation—and we act up anyway.” Chanel Miller is a perfect example of how to do all of the above, and it is an honor to finally meet her.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Know My Name’ by Chanel Miller is out Sept. 24, 2019 from Viking. \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the woman sexually assaulted by former “Stanford swimmer” \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>, whose 2016 victim impact statement shook the nation, revealed her identity and announced the imminent release of her memoir. Her name is Chanel Miller, and the timing of her book, aptly titled \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Know My Name\u003c/i>\u003c/a>, could not be better, coming in the middle of an intensifying backlash against the #MeToo movement.\u003c/p>\n\u003cp>The tide has been turning for months. Just last week, Scarlett Johansson asserted in \u003ca href=\"https://www.hollywoodreporter.com/features/scarlett-johansson-talks-woody-allen-elizabeth-warren-black-widow-1235618\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> that she “loves” and “believes” accused \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">child-molester Woody Allen\u003c/a> and would “work with him anytime.”\u003c/p>\n\u003cp>Billy Bush is about to return to television as host of \u003cem>Extra\u003c/em>, after being fired from NBC’s \u003cem>Today\u003c/em> for giggling his way through a backstage recording of Donald Trump bragging about sexual assault. “I got taken out,” \u003ca href=\"https://www.hollywoodreporter.com/news/billy-bush-says-trump-access-hollywood-video-was-weaponized-1238226?utm_source=twitter&utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">he just told Gayle King\u003c/a> on \u003cem>CBS This Morning\u003c/em>, “but I wasn’t the target.”\u003c/p>\n\u003cp>Last month, Netflix premiered \u003ca href=\"https://www.netflix.com/title/81140577\" target=\"_blank\" rel=\"noopener noreferrer\">a special\u003c/a> by self-identified “victim blamer” Dave Chapelle, in which he declared “I got a f-cking Me Too headache” and defended Louis C.K. He also attempted to draw a direct correlation between women speaking up and the attack on reproductive rights currently unfolding nationally. “What the f-ck is your agenda, ladies?” he asked. “Is sexism dead? No, in fact, the opposite happened.”\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/vI19NamI_OE'\n title='//www.youtube.com/embed/vI19NamI_OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In July, \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> ran a sympathetic profile of disgraced senator Al Franken, with Jane Mayer writing that Franken “told me that his therapist had likened his experience to ‘what happens when primates are shunned and humiliated by the rest of the other primates.’”\u003c/p>\n\u003cp>That same month, Uma Thurman’s revelations about shocking \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\" target=\"_blank\" rel=\"noopener noreferrer\">working conditions under director Quentin Tarantino\u003c/a> were effectively wiped from the public consciousness with the release of his latest movie, \u003cem>Once Upon a Time in Hollywood\u003c/em>—a film currently rated 85-percent fresh on Rotten Tomatoes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inevitable for a story featuring a fictionalized Sharon Tate, the press tour for Tarantino’s movie also put Roman Polanski back in the spotlight. Not for being \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">a fugitive\u003c/a>, or a statutory rapist; rather because Tarantino is a “\u003ca href=\"https://www.indiewire.com/2019/05/once-upon-a-time-in-hollywood-quentin-tarantino-roman-polanski-1202143803/\" target=\"_blank\" rel=\"noopener noreferrer\">fan of Roman Polanski\u003c/a>’s work, but particularly \u003cem>Rosemary’s Baby\u003c/em>.” Then, despite his 2018 expulsion from the Motion Picture Academy, Polanski then got himself a \u003ca href=\"https://www.vanityfair.com/hollywood/2019/08/roman-polanski-venice-jaccuse-standing-ovation\" target=\"_blank\" rel=\"noopener noreferrer\">standing ovation\u003c/a> and the Grand Jury Prize at the Venice Film Festival for his latest film, \u003cem>J’Accuse\u003c/em>.\u003c/p>\n\u003cp>To make matters worse, several research papers have emerged suggesting women will be punished for speaking up about sexual harassment and assault. In May, the \u003ca href=\"https://leanin.org/sexual-harassment-backlash-survey-results\" target=\"_blank\" rel=\"noopener noreferrer\">Lean In Institute reported\u003c/a> “60 percent of managers who are men are uncomfortable participating in a common work activity with a woman, such as mentoring, working alone, or socializing together. That’s a 32 percent jump from a year ago.”\u003c/p>\n\u003cp>Then a \u003cem>Harvard Business Review\u003c/em> story titled “\u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">The #MeToo Backlash\u003c/a>,” described how both male and female professionals from “a wide range of industries” have changed their behavior towards women in the workplace in a negative way, post-#MeToo. The report primarily focused on the fact that 41 percent of men and 57 percent of women agreed that “men in general will be more reluctant to have one-on-one meetings with women.”\u003c/p>\n\u003cp>This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence. It’s a collective suggestion that #MeToo had its moment, but the movement’s gone too far now. It’s an indirect request for women to go back to their corners and leave all of these poor, frightened men alone.\u003c/p>\n\u003cfigure id=\"attachment_13865782\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png\" alt=\"Chanel Miller, appearing on '60 Minutes.'\" width=\"243\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png 243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM-160x227.png 160w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">Chanel Miller, appearing on ’60 Minutes.’ \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chanel Miller—known only as Emily Doe until now—had the distinction of being one of the first to speak out loudly enough to be heard internationally. Her case predated #MeToo, but her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">searing victim impact statement\u003c/a>, first published by Buzzfeed, arguably provided the first spark for the incendiary movement that would explode a year later.\u003c/p>\n\u003cp>Because so much has happened between her case and now, it’s easy to forget that it was she alone who ultimately inspired the campaigns that successfully \u003ca href=\"https://harvardlawreview.org/2019/02/california-judge-recalled-for-sentence-in-sexual-assault-case/\" target=\"_blank\" rel=\"noopener noreferrer\">unseated Judge Aaron Persky\u003c/a> (the man responsible for giving Turner a sentence that allowed him to get out of county jail after only three months), \u003cem>and\u003c/em> got a bill signed into California law that imposes \u003ca href=\"https://www.theguardian.com/us-news/2016/sep/30/stanford-sexual-assault-case-california-rape-law\" target=\"_blank\" rel=\"noopener noreferrer\">mandatory minimum sentences\u003c/a> for sexual assault cases. It was the first case this century to so prominently highlight the issues of white male privilege and a legal system that is prone to disregarding the suffering of sexual assault survivors.\u003c/p>\n\u003cp>Miller reportedly began writing \u003cem>Know My Name\u003c/em> in 2017, using the book to piece together exactly what had happened to her, and heal from it. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/books/chanel-miller-brock-turner-assault-stanford.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the focus of Miller’s writing expanded “as conversations about sexual violence moved increasingly to the fore” of the national consciousness.\u003c/p>\n\u003cp>What has been obvious in the last few months is that a sizable swath of America has lost sight of the deeply personal, private and systemic nature of sexual assault and harassment that started #MeToo in the first place. Over time—and thanks to the sheer number of famous men brought down by the movement—the focus has shifted disproportionately to the most prominent celebrity cases.\u003c/p>\n\u003cp>Now that men like Bill Cosby, Jeffrey Epstein and Harvey Weinstein (whose \u003ca href=\"https://www.usatoday.com/story/life/2019/04/26/harvey-weinstein-sex-crimes-case-public-media-court-high-stakes/3542755002/\" target=\"_blank\" rel=\"noopener noreferrer\">trial starts this week\u003c/a>) have contended with the legal consequences of their actions, there has been an increasing sense that the biggest monsters have been brought down and the hardest work has already been done. Miller’s return is well-timed to drag the spotlight off the most grotesque men brought down by #MeToo and back onto ordinary, everyday survivors. It gives the nation a much-needed reminder that this was never really only about bad behavior within celebrity circles.\u003c/p>\n\u003cfigure id=\"attachment_13865848\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9780735223707.jpg\" alt=\"'Know My Name' by Chanel Miller. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Know My Name’ by Chanel Miller. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Miller’s book is also bound to do—and what Hulu’s excellent new Harvey Weinstein documentary, \u003ca href=\"https://www.hulu.com/movie/untouchable-0204d474-dcce-44f3-af25-d1cca05aba3b\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Untouchable\u003c/em>\u003c/a>, just did—is to explain once more that the lasting trauma sexual assault survivors endure goes on long after trials end, the media attention dissipates and the conversations move elsewhere. It will reemphasize the importance of pushing women’s voices to the forefront and the good things that happen when we make space for that. It will also be an essential reminder of the injustices that women have historically faced, and continue to face.\u003c/p>\n\u003cp>One of the things that has been consistently buried in the reports about the negative workplace consequences of #MeToo is the undoubtedly \u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">positive news\u003c/a> that: “74 percent of women said they thought they would be more willing now to speak out against harassment, and 77 percent of men anticipated being more careful about potentially inappropriate behavior.” That is exactly the kind of progress that we must not lose sight of if #MeToo is to continue to thrive.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.refinery29.com/en-us/2018/05/197938/ashley-judd-healing-sexual-assault-times-up\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Judd made plain\u003c/a> at a #TimesUp event last year: “We use our voices, we weather retaliation—and we act up anyway.” Chanel Miller is a perfect example of how to do all of the above, and it is an honor to finally meet her.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Know My Name’ by Chanel Miller is out Sept. 24, 2019 from Viking. \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a brilliant critique of (homage to?) how movies treated female characters during second-wave feminism and the women’s liberation movement. And it’s laugh-out-loud funny.\u003c/p>\n\u003cp>With Gloria Steinem styling, a WASPy tone of voice, and references to “grass,” “diaphragms” and “analysis,” writer \u003ca href=\"https://laurenwilford.com/\" target=\"_blank\" rel=\"noopener\">Lauren Wilford\u003c/a>‘s impersonation of “every woman in a ’70s movie” captures in just over one minute the characterizations that dominated a decade.\u003c/p>\n\u003cp>https://twitter.com/lauren_wilford/status/1169411620369567744\u003c/p>\n\u003cp>Without giving any direct references, it’s clear that Wilford drew inspiration from classic 1970s performances by Diane Keaton, Natalie Wood, Jane Fonda, Janet Margolin, Carrie Fisher and every single woman who appeared in either \u003cem>Shampoo \u003c/em>or a Woody Allen movie.\u003c/p>\n\u003cp>All together now!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png\" alt=\"\" width=\"658\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865810\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png\" alt=\"\" width=\"656\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM-160x45.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png\" alt=\"\" width=\"658\" height=\"249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM-160x61.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865812\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png\" alt=\"\" width=\"658\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png\" alt=\"\" width=\"657\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM-160x61.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>God bless the internet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a brilliant critique of (homage to?) how movies treated female characters during second-wave feminism and the women’s liberation movement. And it’s laugh-out-loud funny.\u003c/p>\n\u003cp>With Gloria Steinem styling, a WASPy tone of voice, and references to “grass,” “diaphragms” and “analysis,” writer \u003ca href=\"https://laurenwilford.com/\" target=\"_blank\" rel=\"noopener\">Lauren Wilford\u003c/a>‘s impersonation of “every woman in a ’70s movie” captures in just over one minute the characterizations that dominated a decade.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png\" alt=\"\" width=\"658\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865810\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png\" alt=\"\" width=\"656\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM-160x45.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png\" alt=\"\" width=\"658\" height=\"249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM-160x61.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865812\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png\" alt=\"\" width=\"658\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png\" alt=\"\" width=\"657\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM-160x61.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>God bless the internet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sacha Baron Cohen on 'The Spy,' Going Undercover and the Question of Identity",
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"content": "\u003cp>The actor and comedian Sacha Baron Cohen has a childhood memory: In his family’s living room in London, there sat a book called \u003cem>Our Man in Damascus\u003c/em>.\u003c/p>\n\u003cp>It’s a non-fiction account of an Israeli spy who infiltrated Israel’s enemy, Syria, in the 1960s. Eli Cohen was publicly executed, but not before he obtained vital military secrets.\u003c/p>\n\u003cp>Sacha Baron Cohen now plays Eli Cohen in \u003cem>The Spy\u003c/em>, a Netflix series that dramatizes that true story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UijUOy0MmE\u003c/p>\n\u003cp>“Partly what attracted me was: His acting skills rivaled those of [method actor] Daniel Day-Lewis,” Sacha Baron Cohen says in an interview with Steve Inskeep. “He was playing the role of a multi-millionaire businessman who’d been brought up in Argentina from Syrian descent, and maintained that persona for many, many years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one early scene, the character even appears to briefly forget his real name.\u003c/p>\n\u003cp>“I’ve always been intrigued by this question of identity—how people identify themselves,” Baron Cohen says. “And for Eli Cohen, he had these two different lives. He was an Israeli second-class citizen living in poverty, and he was also, when he was undercover, a wealthy Syrian.\u003c/p>\n\u003cp>“So the question of identity, and who you really are, and people who are questioning their own identity or unaware of the irony of their identity—I mean, take for example a character that I first created 20 years ago, Ali G, who’s a white middle-class youth from a suburb in London but who identifies as an African-American gangsta rapper. When he says, ‘Is it ’cause I is black?’ when he’s not, we laugh. But in the case of Eli Cohen, that question of identity, we suspect, and I played him, as that leading to incredible turmoil.”\u003c/p>\n\u003cp>Sacha Baron Cohen can relate to going undercover. He’s famous for playing Borat, a fictional Kazakh man who was filmed while interviewing unsuspecting real-life Americans, documentary-style. Before that there was \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3613548\">Ali G, the dim-witted “hip-hop journalist”\u003c/a>; after that, the flamboyantly gay Austrian named Brüno.\u003c/p>\n\u003cp>“What I try and do when I’m in character is to read the other person,” Baron Cohen says. “If they’re suspicious, they squint their eyes, they look you up and down. Part of what I’m doing is: I’m acting, but I’m also observing the other person to see if they are suspicious or… if they feel calm. And if they’re suspicious, then I back down. I won’t say anything funny for a while, and I’ll try and go deeper into character. And if they’re not suspicious, then I take more risks.”\u003c/p>\n\u003cp>For the 2018 series \u003cem>Who Is America?\u003c/em> he invented multiple characters, which he used to make satirical proposals to unsuspecting Americans. One of his characters was an Israeli soldier—who landed an interview with former Vice President Dick Cheney. That presented a special challenge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DmUnUoeLSIM\u003c/p>\n\u003cp>“Dick Cheney may be many things, but he’s not an idiot,” Baron Cohen says. “And so when I first sat down with him, his main intention was to find out whether I was legitimate or not. And so he asked me to chronicle my military history.”\u003c/p>\n\u003cp>Luckily for Baron Cohen, he had a meeting with a real-life Israeli soldier right before the interview.\u003c/p>\n\u003cp>“And so I said to this guy, I said, ‘Listen, I want you to tell me about your military history,'” Baron Cohen says. “And this man said to me, he goes: [affecting an accent] ‘OK. At the age of 7, I went to school. I had a lunch box in one hand and a gas mask in the other. And at that point I realized I wanted to be a soldier.’\u003c/p>\n\u003cp>“And then cut to an hour later. Dick Cheney comes in the room, and he says, ‘Listen, before we start this interview, tell me about your military history.’ And I said: [in character] ‘Vice President Cheney, at the age of 7, I went to school with a gas mask in one hand and the lunchbox in the other. And that’s when I realized I wanted to be a soldier.'”\u003c/p>\n\u003cp>Though the satirical characters have brought him fame, Baron Cohen says he’s “tried very hard” to not become a celebrity. For many years, he refused to give interviews as himself.\u003c/p>\n\u003cp>“It was actually a fantastic life,” he says. “I remember being dressed as a character I did called Borat, standing in HMV—which was the biggest record and DVD shop in London—next to the stand selling videos of Ali G. And so I was surrounded by fans of Ali G and me, and I was dressed as Borat, and nobody knew it was me. And for me that was the real pleasure.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/757589198/757803910\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Arezou Rezvani produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacha+Baron+Cohen+Goes+Undercover+Again+%E2%80%94+But+Not+For+Laughs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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And if they’re not suspicious, then I take more risks.”\u003c/p>\n\u003cp>For the 2018 series \u003cem>Who Is America?\u003c/em> he invented multiple characters, which he used to make satirical proposals to unsuspecting Americans. One of his characters was an Israeli soldier—who landed an interview with former Vice President Dick Cheney. That presented a special challenge.\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/DmUnUoeLSIM'\n title='//www.youtube.com/embed/DmUnUoeLSIM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Dick Cheney may be many things, but he’s not an idiot,” Baron Cohen says. “And so when I first sat down with him, his main intention was to find out whether I was legitimate or not. And so he asked me to chronicle my military history.”\u003c/p>\n\u003cp>Luckily for Baron Cohen, he had a meeting with a real-life Israeli soldier right before the interview.\u003c/p>\n\u003cp>“And so I said to this guy, I said, ‘Listen, I want you to tell me about your military history,'” Baron Cohen says. “And this man said to me, he goes: [affecting an accent] ‘OK. At the age of 7, I went to school. I had a lunch box in one hand and a gas mask in the other. And at that point I realized I wanted to be a soldier.’\u003c/p>\n\u003cp>“And then cut to an hour later. Dick Cheney comes in the room, and he says, ‘Listen, before we start this interview, tell me about your military history.’ And I said: [in character] ‘Vice President Cheney, at the age of 7, I went to school with a gas mask in one hand and the lunchbox in the other. And that’s when I realized I wanted to be a soldier.'”\u003c/p>\n\u003cp>Though the satirical characters have brought him fame, Baron Cohen says he’s “tried very hard” to not become a celebrity. For many years, he refused to give interviews as himself.\u003c/p>\n\u003cp>“It was actually a fantastic life,” he says. “I remember being dressed as a character I did called Borat, standing in HMV—which was the biggest record and DVD shop in London—next to the stand selling videos of Ali G. And so I was surrounded by fans of Ali G and me, and I was dressed as Borat, and nobody knew it was me. And for me that was the real pleasure.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/757589198/757803910\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Arezou Rezvani produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacha+Baron+Cohen+Goes+Undercover+Again+%E2%80%94+But+Not+For+Laughs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did",
"headTitle": "Thirty Seconds to Mars’ Jared Leto Started a Cult—Because of Course He Did | KQED",
"content": "\u003cp>In the middle of August, \u003ca href=\"https://www.thirtysecondstomars.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thirty Seconds to Mars\u003c/a>—the rock band Jared Leto has fronted since 1998—returned from an island retreat they’d held in Croatia for hundreds of fans and proudly posted photos that had a distinctly \u003ca href=\"https://en.wikipedia.org/wiki/Peoples_Temple\" target=\"_blank\" rel=\"noopener noreferrer\">Peoples Temple\u003c/a> vibe. (Well, if everyone at the Peoples Temple had been white, anyway.)\u003c/p>\n\u003cp>The pictures showed Leto doing his best Jesus impersonation in flowing white robes, addressing fans who sat dotingly at his feet, and being followed around by hoards of young women. The band captioned the photos “Yes, this is a cult.”\u003c/p>\n\u003cp>https://twitter.com/30SECONDSTOMARS/status/1161898672080089088\u003c/p>\n\u003cp>The band has been using that tagline for years now, on \u003ca href=\"https://www.facebook.com/thirtysecondstomars/photos/a.79739842822/10156128997402823/?type=1&theater\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a>, in \u003ca href=\"https://www.pinterest.com/pin/105201341268447507/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">merch\u003c/a> and in \u003ca href=\"https://www.youtube.com/watch?v=mLqHDhF-O28\" target=\"_blank\" rel=\"noopener noreferrer\">music videos.\u003c/a> In 2013, Leto \u003ca href=\"https://www.nytimes.com/2013/06/09/magazine/jared-letos-worst-kept-secret.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The New York Times Magazine\u003c/em>\u003c/a> that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.\u003c/p>\n\u003cp>Thirty Seconds to Mars fans already collectively refer to themselves as “\u003ca href=\"https://www.facebook.com/thirtysecondstomarsechelonarmy/\" target=\"_blank\" rel=\"noopener noreferrer\">the Echelon\u003c/a>,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GoIngKBPp3I\u003c/p>\n\u003cp>The Echelon also seems more than happy to don all-white uniforms and worship at Jared Leto’s feet.\u003c/p>\n\u003cp>https://twitter.com/Rio_To_Mars/status/1161959346730930176?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1161959346730930176&ref_url=https%3A%2F%2Fwww.pajiba.com%2Fcelebrities_are_better_than_you%2Fthirty-seconds-to-mars-and-jared-leto-have-a-cult-on-their-island.php\u003c/p>\n\u003cp>https://twitter.com/PaolaOnMars/status/1162018786360332289\u003c/p>\n\u003cp>https://twitter.com/altum68/status/1161909190287380480?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fd-12821477842867798592.ampproject.net%2F1908231648370%2Fframe.html\u003c/p>\n\u003cp>Like many cults, the Echelon espouses an us vs. them mentality via the hashtag #YouWouldntUnderstand, a refrain Leto repeats often. That idea has pushed supporters to ever more fervent degrees of devotion any time the band receives any degree of criticism. (Scientology followers have been employing a similar methodology for decades.)\u003c/p>\n\u003cp>[aside postid='pop_4982']Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a \u003ca href=\"http://www.ecorazzi.com/2013/05/14/spend-the-night-in-jared-letos-bed-and-eat-vegan-pancakes/\" target=\"_blank\" rel=\"noopener noreferrer\">night sleeping in his bed\u003c/a>). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans \u003ca href=\"http://www.thrashhits.com/2013/07/jared-letos-asking-fans-to-get-30-seconds-to-mars-tattoos/\" target=\"_blank\" rel=\"noopener noreferrer\">get tattoos\u003c/a> in their honor. (Take that, \u003ca href=\"https://en.wikipedia.org/wiki/NXIVM\" target=\"_blank\" rel=\"noopener noreferrer\">NXIVM\u003c/a>!)\u003c/p>\n\u003cp>https://www.instagram.com/p/B1M5ewKH_Rl/\u003c/p>\n\u003cp>Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming \u003ca href=\"https://events.thirtysecondstomars.com/camp-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Mars,\u003c/a> taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)\u003c/p>\n\u003cp>[aside postid='pop_112213']There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”\u003c/p>\n\u003cp>Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">up to $900 for meet and greets\u003c/a> in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge \u003ca href=\"https://www.papermag.com/should-musicians-charge-meet-greets-2633176822.html?rebelltitem=11#rebelltitem11\" target=\"_blank\" rel=\"noopener noreferrer\">$658\u003c/a>, \u003ca href=\"https://splinternews.com/i-spoke-with-fans-at-a-rihanna-meet-and-greet-and-r8-o-1793850411\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna was still only charging $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\n\u003cp>https://www.instagram.com/p/a0ubIzEx2i/\u003c/p>\n\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”\u003c/p>\n\u003cp>[aside postid='arts_13902056']In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his \u003cem>My So-Called Life\u003c/em> days and then getting them scrubbed from the internet by threatening legal action.\u003c/p>\n\u003cp>Music journalist \u003ca href=\"https://twitter.com/RAZIQRAUF\" target=\"_blank\" rel=\"noopener noreferrer\">Raziq Rauf\u003c/a> told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”\u003c/p>\n\u003cp>It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0Q1JDQHpub/\u003c/p>\n\u003cp>A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “\u003ca href=\"https://www.theguardian.com/music/2018/mar/26/thirty-seconds-to-mars-review-empty-euphoria-from-jared-letos-arena-rockers\" target=\"_blank\" rel=\"noopener noreferrer\">hollow and emotionally one-note\u003c/a>” (last year, \u003cem>Spin\u003c/em> described Leto’s lyrics as “\u003ca href=\"https://www.spin.com/2018/04/thirty-seconds-to-mars-america-review/\" target=\"_blank\" rel=\"noopener noreferrer\">meaningless word salad\u003c/a>“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The band has been using that tagline for years now, on \u003ca href=\"https://www.facebook.com/thirtysecondstomars/photos/a.79739842822/10156128997402823/?type=1&theater\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a>, in \u003ca href=\"https://www.pinterest.com/pin/105201341268447507/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">merch\u003c/a> and in \u003ca href=\"https://www.youtube.com/watch?v=mLqHDhF-O28\" target=\"_blank\" rel=\"noopener noreferrer\">music videos.\u003c/a> In 2013, Leto \u003ca href=\"https://www.nytimes.com/2013/06/09/magazine/jared-letos-worst-kept-secret.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The New York Times Magazine\u003c/em>\u003c/a> that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.\u003c/p>\n\u003cp>Thirty Seconds to Mars fans already collectively refer to themselves as “\u003ca href=\"https://www.facebook.com/thirtysecondstomarsechelonarmy/\" target=\"_blank\" rel=\"noopener noreferrer\">the Echelon\u003c/a>,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a \u003ca href=\"http://www.ecorazzi.com/2013/05/14/spend-the-night-in-jared-letos-bed-and-eat-vegan-pancakes/\" target=\"_blank\" rel=\"noopener noreferrer\">night sleeping in his bed\u003c/a>). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans \u003ca href=\"http://www.thrashhits.com/2013/07/jared-letos-asking-fans-to-get-30-seconds-to-mars-tattoos/\" target=\"_blank\" rel=\"noopener noreferrer\">get tattoos\u003c/a> in their honor. (Take that, \u003ca href=\"https://en.wikipedia.org/wiki/NXIVM\" target=\"_blank\" rel=\"noopener noreferrer\">NXIVM\u003c/a>!)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming \u003ca href=\"https://events.thirtysecondstomars.com/camp-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Mars,\u003c/a> taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”\u003c/p>\n\u003cp>Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">up to $900 for meet and greets\u003c/a> in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge \u003ca href=\"https://www.papermag.com/should-musicians-charge-meet-greets-2633176822.html?rebelltitem=11#rebelltitem11\" target=\"_blank\" rel=\"noopener noreferrer\">$658\u003c/a>, \u003ca href=\"https://splinternews.com/i-spoke-with-fans-at-a-rihanna-meet-and-greet-and-r8-o-1793850411\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna was still only charging $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his \u003cem>My So-Called Life\u003c/em> days and then getting them scrubbed from the internet by threatening legal action.\u003c/p>\n\u003cp>Music journalist \u003ca href=\"https://twitter.com/RAZIQRAUF\" target=\"_blank\" rel=\"noopener noreferrer\">Raziq Rauf\u003c/a> told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”\u003c/p>\n\u003cp>It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “\u003ca href=\"https://www.theguardian.com/music/2018/mar/26/thirty-seconds-to-mars-review-empty-euphoria-from-jared-letos-arena-rockers\" target=\"_blank\" rel=\"noopener noreferrer\">hollow and emotionally one-note\u003c/a>” (last year, \u003cem>Spin\u003c/em> described Leto’s lyrics as “\u003ca href=\"https://www.spin.com/2018/04/thirty-seconds-to-mars-america-review/\" target=\"_blank\" rel=\"noopener noreferrer\">meaningless word salad\u003c/a>“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hear Margaret Atwood Read From Her Sequel to 'The Handmaid's Tale'",
"headTitle": "Hear Margaret Atwood Read From Her Sequel to ‘The Handmaid’s Tale’ | KQED",
"content": "\u003cp>\u003cem>Margaret Atwood’s classic dystopian novel \u003c/em>The Handmaid’s Tale\u003cem> ended on a cliffhanger: The rebellious handmaid Offred stepping into a mysterious black van, on her way to freedom—or to arrest.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Handmaids are in the public eye again thanks to the \u003ca href=\"https://www.npr.org/2017/04/26/525755370/handmaids-tale-wants-you-to-feel-like-this-could-happen-here\">hit TV series\u003c/a>—and the frequent appearance of silent, \u003ca href=\"https://www.kqed.org/pop/79915/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out\" target=\"_blank\" rel=\"noopener\">red-robed protesters\u003c/a> at political events. Now, Atwood is returning to the world of Gilead, the repressive theocracy she created out of the ruins of present-day America. \u003c/em>The Testaments \u003cem>opens 15 years after the events of the first book, and follows an old familiar character as well as introducing some new voices. As for what happens to Offred… well, no spoilers here.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’re excited to bring you a pre-publication excerpt of \u003c/em>The Testaments\u003cem>, and an exclusive recording of Atwood herself reading these first three chapters. You can also hear her in conversation with \u003ca href=\"https://www.npr.org/programs/weekend-edition-saturday/\" target=\"_blank\" rel=\"noopener\">Weekend Edition\u003c/a>‘s Scott Simon on Saturday, Sept. 8, and the book will be released on Sept. 10th.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/754859270/756030381\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Ardua Hall Holograph\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Only dead people are allowed to have statues, but I have been given one while still alive. Already I am petrified.\u003c/p>\n\u003cp>This statue was a small token of appreciation for my many contributions, said the citation, which was read out by Aunt Vidala. She’d been assigned the task by our superiors, and was far from appreciative. I thanked her with as much modesty as I could summon, then pulled the rope that released the cloth drape shrouding me; it billowed to the ground, and there I stood. We don’t do cheering here at Ardua Hall, but there was some discreet clapping. I inclined my head in a nod.\u003c/p>\n\u003cp>My statue is larger than life, as statues tend to be, and shows me as younger, slimmer, and in better shape than I’ve been for some time. I am standing straight, shoulders back, my lips curved into a firm but benevolent smile. My eyes are fixed on some cosmic point of reference understood to represent my idealism, my unflinching commitment to duty, my determination to move forward despite all obstacles. Not that anything in the sky would be visible to my statue, placed as it is in a morose cluster of trees and shrubs beside the footpath running in front of Ardua Hall. We Aunts must not be too presumptuous, even in stone.\u003c/p>\n\u003cp>Clutching my left hand is a girl of seven or eight, gazing up at me with trusting eyes. My right hand rests on the head of a woman crouched at my side, her hair veiled, her eyes upturned in an expression that could be read as either craven or grateful—one of our Handmaids—and behind me is one of my Pearl Girls, ready to set out on her missionary work. Hanging from a belt around my waist is my Taser. This weapon reminds me of my failings: had I been more effective, I would not have needed such an implement. The persuasion in my voice would have been enough.\u003c/p>\n\u003cp>As a group of statuary it’s not a great success: too crowded. I would have preferred more emphasis on myself. But at least I look sane. It could well have been otherwise, as the elderly sculptress—a true believer since deceased—had a tendency to confer bulging eyes on her subjects as a sign of their pious fervour. Her bust of Aunt Helena looks rabid, that of Aunt Vidala is hyperthyroid, and that of Aunt Elizabeth appears ready to explode.\u003c/p>\n\u003cp>At the unveiling the sculptress was nervous. Was her rendition of me sufficiently flattering? Did I approve of it? Would I be seen to approve? I toyed with the idea of frowning as the sheet came off, but thought better of it: I am not without compassion. “Very lifelike,” I said.\u003c/p>\n\u003cp>That was nine years ago. Since then my statue has weathered: pigeons have decorated me, moss has sprouted in my damper crevices. Votaries have taken to leaving offerings at my feet: eggs for fertility, oranges to suggest the fullness of pregnancy, croissants to reference the moon. I ignore the breadstuffs—usually they have been rained on—but pocket the oranges. Oranges are so refreshing.\u003c/p>\n\u003cp>I write these words in my private sanctum within the library of Ardua Hall—one of the few libraries remaining after the enthusiastic bookburnings that have been going on across our land. The corrupt and blood-smeared fingerprints of the past must be wiped away to create a clean space for the morally pure generation that is surely about to arrive. Such is the theory.\u003c/p>\n\u003cp>But among these bloody fingerprints are those made by ourselves, and these can’t be wiped away so easily. Over the years I’ve buried a lot of bones; now I’m inclined to dig them up again—if only for your edification, my unknown reader. If you are reading, this manuscript at least will have survived. Though perhaps I’m fantasizing: perhaps I will never have a reader. Perhaps I’ll only be talking to the wall, in more ways than one.\u003c/p>\n\u003cp>That’s enough inscribing for today. My hand hurts, my back aches, and my nightly cup of hot milk awaits me. I’ll stash this screed in its hiding place, avoiding the surveillance cameras—I know where they are, having placed them myself. Despite such precautions, I’m aware of the risk I’m running: writing can be dangerous. What betrayals, and then what denunciations, might lie in store for me? There are several within Ardua Hall who would love to get their hands on these pages.\u003c/p>\n\u003cp>Wait, I counsel them silently: it will get worse.\u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Transcript of Witness Testimony 369A\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>You have asked me to tell you what it was like for me when I was growing up within Gilead. You say it will be helpful, and I do wish to be helpful. I imagine you expect nothing but horrors, but the reality is that many children were loved and cherished, in Gilead as elsewhere, and many adults were kind though fallible, in Gilead as elsewhere.\u003c/p>\n\u003cp>I hope you will remember, too, that we all have some nostalgia for whatever kindness we have known as children, however bizarre the conditions of that childhood may seem to others. I agree with you that Gilead ought to fade away—there is too much of wrong in it, too much that is false, and too much that is surely contrary to what God intended—but you must permit me some space to mourn the good that will be lost.\u003c/p>\n\u003cp>At our school, pink was for spring and summer, plum was for fall and winter, white was for special days: Sundays and celebrations. Arms covered, hair covered, skirts down to the knee before you were five and no more than two inches above the ankle after that, because the urges of men were terrible things and those urges needed to be curbed. The man eyes that were always roaming here and there like the eyes of tigers, those searchlight eyes, needed to be shielded from the alluring and indeed blinding power of us—of our shapely or skinny or fat legs, of our graceful or knobbly or sausage arms, of our peachy or blotchy skins, of our entwining curls of shining hair or our coarse unruly pelts or our straw-like wispy braids, it did not matter. Whatever our shapes and features, we were snares and enticements despite ourselves, we were the innocent and blameless causes that through our very nature could make men drunk with lust, so that they’d stagger and lurch and topple over the verge—The verge of what? we wondered. Was it like a cliff?—and go plunging down in flames, like snowballs made of burning sulphur hurled by the angry hand of God. We were custodians of an invaluable treasure that existed, unseen, inside us; we were precious flowers that had to be kept safely inside glass houses, or else we would be ambushed and our petals would be torn off and our treasure would be stolen and we would be ripped apart and trampled by the ravenous men who might lurk around any corner, out there in the wide sharp-edged sin-ridden world.\u003c/p>\n\u003cp>That was the kind of thing runny-nosed Aunt Vidala would tell us at school while we were doing petit-point embroidery for handkerchiefs and footstools and framed pictures: flowers in a vase, fruit in a bowl were the favoured patterns. But Aunt Estée, the teacher we liked the best, would say Aunt Vidala was overdoing it and there was no point in frightening us out of our wits, since to instill such an aversion might have a negative influence on the happiness of our future married lives.\u003c/p>\n\u003cp>“All men are not like that, girls,” she would say soothingly. “The better kind have superior characters. Some of them have decent self-restraint. And once you are married it will seem quite different to you, and not very fearsome at all.” Not that she would know anything about it, since the Aunts were not married; they were not allowed to be. That was why they could have writing and books.\u003c/p>\n\u003cp>“We and your fathers and mothers will choose your husbands wisely for you when the time comes,” Aunt Estée would say. “So you don’t need to be afraid. Just learn your lessons and trust your elders to do what is best, and everything will unfold as it should. I will pray for it.”\u003c/p>\n\u003cp>But despite Aunt Estée’s dimples and friendly smile, it was Aunt Vidala’s version that prevailed. It turned up in my nightmares: the shattering of the glass house, then the rending and tearing and the trampling of hooves, with pink and white and plum fragments of myself scattered over the ground. I dreaded the thought of growing older—older enough for a wedding. I had no faith in the wise choices of the Aunts: I feared that I would end up married to a goat on fire.\u003c/p>\n\u003cp>The pink, the white, and the plum dresses were the rule for special girls like us. Ordinary girls from Econofamilies wore the same thing all the time—those ugly multicoloured stripes and grey cloaks, like the clothes of their mothers. They did not even learn petit-point embroidery or crochet work, just plain sewing and the making of paper flowers and other such chores. They were not pre-chosen to be married to the very best men—to the Sons of Jacob and the other Commanders or their sons—not like us; although they might get to be chosen once they were older if they were pretty enough.\u003c/p>\n\u003cp>Nobody said that. You were not supposed to preen yourself on your good looks, it was not modest, or take any notice of the good looks of other people. Though we girls knew the truth: that it was better to be pretty than ugly. Even the Aunts paid more attention to the pretty ones. But if you were already pre-chosen, pretty didn’t matter so much.\u003c/p>\n\u003cp>I didn’t have a squint like Huldah or a pinchy built-in frown like Shunammite, and I didn’t have barely-there eyebrows like Becka, but I was unfinished. I had a dough face, like the cookies my favourite Martha, Zilla, made for me as a treat, with raisin eyes and pumpkinseed teeth. But though I was not especially pretty, I was very, very chosen. Doubly chosen: not only pre-chosen to marry a Commander but chosen in the first place by Tabitha, who was my mother.\u003c/p>\n\u003cp>That is what Tabitha used to tell me: “I went for a walk in the forest,” she would say, “and then I came to an enchanted castle, and there were a lot of little girls locked inside, and none of them had any mothers, and they were under the spell of the wicked witches. I had a magic ring that unlocked the castle, but I could only rescue one little girl. So I looked at them all very carefully, and then, out of the whole crowd, I chose you!”\u003c/p>\n\u003cp>“What happened to the others?” I would ask. “The other little girls?”\u003c/p>\n\u003cp>“Different mothers rescued them,” she would say.\u003c/p>\n\u003cp>“Did they have magic rings too?”\u003c/p>\n\u003cp>“Of course, my darling. In order to be a mother, you need to have a magic ring.”\u003c/p>\n\u003cp>“Where’s the magic ring?” I would ask. “Where is it now?”\u003c/p>\n\u003cp>“It’s right here on my finger,” she would say, indicating the third finger of her left hand. The heart finger, she said it was. “But my ring had only one wish in it, and I used that one up on you. So now it’s an ordinary, everyday mother ring.”\u003c/p>\n\u003cp>At this point I was allowed to try on the ring, which was gold, with three diamonds in it: a big one, and a smaller one on either side. It did look as if it might have been magic once.\u003c/p>\n\u003cp>“Did you lift me up and carry me?” I would ask. “Out of the forest?” I knew the story off by heart, but I liked to hear it repeated.\u003c/p>\n\u003cp>“No, my dearest, you were already too big for that. If I had carried you I would have coughed, and then the witches would have heard us.” I could see this was true: she did cough quite a lot. “So I took you by the hand, and we crept out of the castle so the witches wouldn’t hear us. We both said Shh, shh”—here she would hold her finger up to her lips, and I would hold my finger up too and say Shh, shh delightedly—”and then we had to run very fast through the forest, to get away from the wicked witches, because one of them had seen us going out the door. We ran, and then we hid in a hollow tree. It was very dangerous!”\u003c/p>\n\u003cp>I did have a hazy memory of running through a forest with someone holding my hand. Had I hidden in a hollow tree? It seemed to me that I had hidden somewhere. So maybe it was true.\u003c/p>\n\u003cp>“And then what happened?” I would ask.\u003c/p>\n\u003cp>“And then I brought you to this beautiful house. Aren’t you happy here? You are so cherished, by all of us! Aren’t we both lucky that I chose you?”\u003c/p>\n\u003cp>I would be nestled close to her, with her arm around me and my head against her thin body, through which I could feel her bumpy ribs. My ear would be pressed to her chest, and I could hear her heart hammering away inside her—faster and faster, it seemed to me, as she waited for me to say something. I knew my answer had power: I could make her smile, or not.\u003c/p>\n\u003cp>What could I say but yes and yes? Yes, I was happy. Yes, I was lucky. Anyway it was true.\u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Transcript of Witness Testimony 369B\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They say I will always have the scar, but I’m almost better; so yes, I think I’m strong enough to do this now. You’ve said that you’d like me to tell you how I got involved in this whole story, so I’ll try; though it’s hard to know where to begin.\u003c/p>\n\u003cp>I’ll start just before my birthday, or what I used to believe was my birthday. Neil and Melanie lied to me about that: they’d done it for the best of reasons and they’d meant really well, but when I first found out about it I was very angry at them. Keeping up my anger was difficult, though, because by that time they were dead. You can be angry at dead people, but you can never have a conversation about what they did; or you can only have one side of it. And I felt guilty as well as angry, because they’d been murdered, and I believed then that their murder was my fault.\u003c/p>\n\u003cp>I was supposed to be turning sixteen. What I was most looking forward to was getting my driver’s licence. I felt too old for a birthday party, though Melanie always got me a cake and ice cream and sang “Daisy, Daisy, give me your answer true,” an old song I’d loved as a child and was now finding embarrassing. I did get the cake, later—chocolate cake, vanilla ice cream, my favourites—but by then I couldn’t eat it. By that time Melanie was no longer there.\u003c/p>\n\u003cp>That birthday was the day I discovered that I was a fraud. Or not a fraud, like a bad magician: a fake, like a fake antique. I was a forgery, done on purpose. I was so young at that moment—just a split second ago, it seems—but I’m not young anymore. How little time it takes to change a face: carve it like wood, harden it. No more of that wide-eyed daydream gazing I used to do. I’ve become sharper, more focused. I’ve become narrowed.\u003c/p>\n\u003cp>Neil and Melanie were my parents; they ran a store called The Clothes Hound. It was basically used clothing: Melanie called it “previously loved” because she said “used” meant “exploited.” The sign outside showed a smiling pink poodle in a fluffy skirt with a pink bow on its head, carrying a shopping bag. Underneath was a slogan in italics and quotation marks: \u003cem>“You’d Never Know!” \u003c/em>That meant the used clothes were so good you’d never know they were used, but that wasn’t true at all because most of the clothes were crappy.\u003c/p>\n\u003cp>Melanie said she’d inherited The Clothes Hound from her grandmother. She also said she knew the sign was old-fashioned, but people were familiar with it and it would be disrespectful to change it now.\u003c/p>\n\u003cp>Our store was on Queen West, in a stretch of blocks that had once all been like that, said Melanie—textiles, buttons and trims, cheap linens, dollar stores. But now it was going upmarket: cafés with fair trade and organic were moving in, big-brand outlets, name boutiques. In response, Melanie hung a sign in the window: \u003cem>Wearable Art\u003c/em>. But inside, the store was crowded with all kinds of clothes you would never call wearable art. There was one corner that was kind of designer, though anything really pricey wouldn’t be in The Clothes Hound in the first place. The rest was just everything. And all sorts of people came and went: young, old, looking for bargains or finds, or just looking. Or selling: even street people would try to get a few dollars for T-shirts they’d picked up at garage sales.\u003c/p>\n\u003cp>Melanie worked on the main floor. She wore bright colours, like orange and hot pink, because she said they created a positive and energetic atmosphere, and anyway she was part gypsy at heart. She was always brisk and smiling, though on the lookout for shoplifting. After closing, she sorted and packed: this for charity, this for rags, this for Wearable Art. While doing the sorting she’d sing tunes from musicals—old ones from long ago. “Oh what a beautiful morning” was one of her favourites, and “When you walk through a storm.” I would get irritated by her singing; I’m sorry about that now.\u003c/p>\n\u003cp>Sometimes she’d get overwhelmed: there was too much fabric, it was like the ocean, waves of cloth coming in and threatening to drown her. Cashmere! Who was going to buy thirty-year-old cashmere? It didn’t improve with age, she would say—not like her.\u003c/p>\n\u003cp>Neil had a beard that was going grey and wasn’t always trimmed, and he didn’t have much hair. He didn’t look like a businessman, but he handled what they called “the money end”: the invoices, the accounting, the taxes. He had his office on the second floor, up a flight of rubber-treaded stairs. He had a computer and a filing cabinet and a safe, but otherwise that room wasn’t much like an office: it was just as crowded and cluttered as the store because Neil liked to collect things. Wind-up music boxes, he had a number of those. Clocks, a lot of different clocks. Old adding machines that worked with a handle. Plastic toys that walked or hopped across the floor, such as bears and frogs and sets of false teeth. A slide projector for the kind of coloured slides that nobody had anymore. Cameras—he liked ancient cameras. Some of them could take better pictures than anything nowadays, he’d say. He had one whole shelf with nothing on it but cameras.\u003c/p>\n\u003cp>One time he left the safe open and I looked inside. Instead of the wads of money I’d been expecting, there was nothing in it but a tiny metal-and-glass thing that I thought must be another toy, like the hopping false teeth. But I couldn’t see where to wind it up, and I was afraid to touch it because it was old.\u003c/p>\n\u003cp>“Can I play with it?” I asked Neil.\u003c/p>\n\u003cp>“Play with what?”\u003c/p>\n\u003cp>“That toy in the safe.”\u003c/p>\n\u003cp>“Not today,” he said, smiling. “Maybe when you’re older.” Then he shut the safe door, and I forgot about the strange little toy until it was time for me to remember it, and to understand what it was.\u003c/p>\n\u003cp>Neil would try to repair the various items, though often he failed because he couldn’t find the parts. Then the things would just sit there, “collecting dust,” said Melanie. Neil hated throwing anything out.\u003c/p>\n\u003cp>On the walls he had some old posters: LOOSE LIPS SINK SHIPS, from a long-ago war; a woman in overalls flexing her biceps to show that women could make bombs—that was from the same olden-days war; and a red-and-black one showing a man and a flag that Neil said was from Russia before it was Russia. Those had belonged to his great-grandfather, who’d lived in Winnipeg. I knew nothing about Winnipeg except that it was cold.\u003c/p>\n\u003cp>I loved The Clothes Hound when I was little: it was like a cave full of treasures. I wasn’t supposed to be in Neil’s office by myself because I might “touch things,” and then I might break them. But I could play with the wind-up toys and the music boxes and the adding machines, under supervision. Not the cameras though, because they were too valuable, said Neil, and anyway there was no film in them, so what would be the point?\u003c/p>\n\u003cp>We didn’t live over the store. Our house was a long distance away, in one of those residential neighbourhoods where there were some old bungalows and also some newer, bigger houses that had been built where the bungalows had been torn down. Our house was not a bungalow—it had a second floor, where the bedrooms were—but it was not a new house either. It was made of yellow brick, and it was very ordinary. There was nothing about it that would make you look at it twice. Thinking back, I’m guessing that was their idea.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Excerpt from \u003c/em>The Testaments by Margaret Atwood \u003cem>copyright 2019 by O. W. Toad, Ltd. Published by Nan A. Talese/Doubleday, a division of Penguin Random House. All rights reserved.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Margaret+Atwood+Read+From+%27The+Testaments%2C%27+Her+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Margaret Atwood’s classic dystopian novel \u003c/em>The Handmaid’s Tale\u003cem> ended on a cliffhanger: The rebellious handmaid Offred stepping into a mysterious black van, on her way to freedom—or to arrest.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Handmaids are in the public eye again thanks to the \u003ca href=\"https://www.npr.org/2017/04/26/525755370/handmaids-tale-wants-you-to-feel-like-this-could-happen-here\">hit TV series\u003c/a>—and the frequent appearance of silent, \u003ca href=\"https://www.kqed.org/pop/79915/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out\" target=\"_blank\" rel=\"noopener\">red-robed protesters\u003c/a> at political events. Now, Atwood is returning to the world of Gilead, the repressive theocracy she created out of the ruins of present-day America. \u003c/em>The Testaments \u003cem>opens 15 years after the events of the first book, and follows an old familiar character as well as introducing some new voices. As for what happens to Offred… well, no spoilers here.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’re excited to bring you a pre-publication excerpt of \u003c/em>The Testaments\u003cem>, and an exclusive recording of Atwood herself reading these first three chapters. You can also hear her in conversation with \u003ca href=\"https://www.npr.org/programs/weekend-edition-saturday/\" target=\"_blank\" rel=\"noopener\">Weekend Edition\u003c/a>‘s Scott Simon on Saturday, Sept. 8, and the book will be released on Sept. 10th.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/754859270/756030381\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Ardua Hall Holograph\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Only dead people are allowed to have statues, but I have been given one while still alive. Already I am petrified.\u003c/p>\n\u003cp>This statue was a small token of appreciation for my many contributions, said the citation, which was read out by Aunt Vidala. She’d been assigned the task by our superiors, and was far from appreciative. I thanked her with as much modesty as I could summon, then pulled the rope that released the cloth drape shrouding me; it billowed to the ground, and there I stood. We don’t do cheering here at Ardua Hall, but there was some discreet clapping. I inclined my head in a nod.\u003c/p>\n\u003cp>My statue is larger than life, as statues tend to be, and shows me as younger, slimmer, and in better shape than I’ve been for some time. I am standing straight, shoulders back, my lips curved into a firm but benevolent smile. My eyes are fixed on some cosmic point of reference understood to represent my idealism, my unflinching commitment to duty, my determination to move forward despite all obstacles. Not that anything in the sky would be visible to my statue, placed as it is in a morose cluster of trees and shrubs beside the footpath running in front of Ardua Hall. We Aunts must not be too presumptuous, even in stone.\u003c/p>\n\u003cp>Clutching my left hand is a girl of seven or eight, gazing up at me with trusting eyes. My right hand rests on the head of a woman crouched at my side, her hair veiled, her eyes upturned in an expression that could be read as either craven or grateful—one of our Handmaids—and behind me is one of my Pearl Girls, ready to set out on her missionary work. Hanging from a belt around my waist is my Taser. This weapon reminds me of my failings: had I been more effective, I would not have needed such an implement. The persuasion in my voice would have been enough.\u003c/p>\n\u003cp>As a group of statuary it’s not a great success: too crowded. I would have preferred more emphasis on myself. But at least I look sane. It could well have been otherwise, as the elderly sculptress—a true believer since deceased—had a tendency to confer bulging eyes on her subjects as a sign of their pious fervour. Her bust of Aunt Helena looks rabid, that of Aunt Vidala is hyperthyroid, and that of Aunt Elizabeth appears ready to explode.\u003c/p>\n\u003cp>At the unveiling the sculptress was nervous. Was her rendition of me sufficiently flattering? Did I approve of it? Would I be seen to approve? I toyed with the idea of frowning as the sheet came off, but thought better of it: I am not without compassion. “Very lifelike,” I said.\u003c/p>\n\u003cp>That was nine years ago. Since then my statue has weathered: pigeons have decorated me, moss has sprouted in my damper crevices. Votaries have taken to leaving offerings at my feet: eggs for fertility, oranges to suggest the fullness of pregnancy, croissants to reference the moon. I ignore the breadstuffs—usually they have been rained on—but pocket the oranges. Oranges are so refreshing.\u003c/p>\n\u003cp>I write these words in my private sanctum within the library of Ardua Hall—one of the few libraries remaining after the enthusiastic bookburnings that have been going on across our land. The corrupt and blood-smeared fingerprints of the past must be wiped away to create a clean space for the morally pure generation that is surely about to arrive. Such is the theory.\u003c/p>\n\u003cp>But among these bloody fingerprints are those made by ourselves, and these can’t be wiped away so easily. Over the years I’ve buried a lot of bones; now I’m inclined to dig them up again—if only for your edification, my unknown reader. If you are reading, this manuscript at least will have survived. Though perhaps I’m fantasizing: perhaps I will never have a reader. Perhaps I’ll only be talking to the wall, in more ways than one.\u003c/p>\n\u003cp>That’s enough inscribing for today. My hand hurts, my back aches, and my nightly cup of hot milk awaits me. I’ll stash this screed in its hiding place, avoiding the surveillance cameras—I know where they are, having placed them myself. Despite such precautions, I’m aware of the risk I’m running: writing can be dangerous. What betrayals, and then what denunciations, might lie in store for me? There are several within Ardua Hall who would love to get their hands on these pages.\u003c/p>\n\u003cp>Wait, I counsel them silently: it will get worse.\u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Transcript of Witness Testimony 369A\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>You have asked me to tell you what it was like for me when I was growing up within Gilead. You say it will be helpful, and I do wish to be helpful. I imagine you expect nothing but horrors, but the reality is that many children were loved and cherished, in Gilead as elsewhere, and many adults were kind though fallible, in Gilead as elsewhere.\u003c/p>\n\u003cp>I hope you will remember, too, that we all have some nostalgia for whatever kindness we have known as children, however bizarre the conditions of that childhood may seem to others. I agree with you that Gilead ought to fade away—there is too much of wrong in it, too much that is false, and too much that is surely contrary to what God intended—but you must permit me some space to mourn the good that will be lost.\u003c/p>\n\u003cp>At our school, pink was for spring and summer, plum was for fall and winter, white was for special days: Sundays and celebrations. Arms covered, hair covered, skirts down to the knee before you were five and no more than two inches above the ankle after that, because the urges of men were terrible things and those urges needed to be curbed. The man eyes that were always roaming here and there like the eyes of tigers, those searchlight eyes, needed to be shielded from the alluring and indeed blinding power of us—of our shapely or skinny or fat legs, of our graceful or knobbly or sausage arms, of our peachy or blotchy skins, of our entwining curls of shining hair or our coarse unruly pelts or our straw-like wispy braids, it did not matter. Whatever our shapes and features, we were snares and enticements despite ourselves, we were the innocent and blameless causes that through our very nature could make men drunk with lust, so that they’d stagger and lurch and topple over the verge—The verge of what? we wondered. Was it like a cliff?—and go plunging down in flames, like snowballs made of burning sulphur hurled by the angry hand of God. We were custodians of an invaluable treasure that existed, unseen, inside us; we were precious flowers that had to be kept safely inside glass houses, or else we would be ambushed and our petals would be torn off and our treasure would be stolen and we would be ripped apart and trampled by the ravenous men who might lurk around any corner, out there in the wide sharp-edged sin-ridden world.\u003c/p>\n\u003cp>That was the kind of thing runny-nosed Aunt Vidala would tell us at school while we were doing petit-point embroidery for handkerchiefs and footstools and framed pictures: flowers in a vase, fruit in a bowl were the favoured patterns. But Aunt Estée, the teacher we liked the best, would say Aunt Vidala was overdoing it and there was no point in frightening us out of our wits, since to instill such an aversion might have a negative influence on the happiness of our future married lives.\u003c/p>\n\u003cp>“All men are not like that, girls,” she would say soothingly. “The better kind have superior characters. Some of them have decent self-restraint. And once you are married it will seem quite different to you, and not very fearsome at all.” Not that she would know anything about it, since the Aunts were not married; they were not allowed to be. That was why they could have writing and books.\u003c/p>\n\u003cp>“We and your fathers and mothers will choose your husbands wisely for you when the time comes,” Aunt Estée would say. “So you don’t need to be afraid. Just learn your lessons and trust your elders to do what is best, and everything will unfold as it should. I will pray for it.”\u003c/p>\n\u003cp>But despite Aunt Estée’s dimples and friendly smile, it was Aunt Vidala’s version that prevailed. It turned up in my nightmares: the shattering of the glass house, then the rending and tearing and the trampling of hooves, with pink and white and plum fragments of myself scattered over the ground. I dreaded the thought of growing older—older enough for a wedding. I had no faith in the wise choices of the Aunts: I feared that I would end up married to a goat on fire.\u003c/p>\n\u003cp>The pink, the white, and the plum dresses were the rule for special girls like us. Ordinary girls from Econofamilies wore the same thing all the time—those ugly multicoloured stripes and grey cloaks, like the clothes of their mothers. They did not even learn petit-point embroidery or crochet work, just plain sewing and the making of paper flowers and other such chores. They were not pre-chosen to be married to the very best men—to the Sons of Jacob and the other Commanders or their sons—not like us; although they might get to be chosen once they were older if they were pretty enough.\u003c/p>\n\u003cp>Nobody said that. You were not supposed to preen yourself on your good looks, it was not modest, or take any notice of the good looks of other people. Though we girls knew the truth: that it was better to be pretty than ugly. Even the Aunts paid more attention to the pretty ones. But if you were already pre-chosen, pretty didn’t matter so much.\u003c/p>\n\u003cp>I didn’t have a squint like Huldah or a pinchy built-in frown like Shunammite, and I didn’t have barely-there eyebrows like Becka, but I was unfinished. I had a dough face, like the cookies my favourite Martha, Zilla, made for me as a treat, with raisin eyes and pumpkinseed teeth. But though I was not especially pretty, I was very, very chosen. Doubly chosen: not only pre-chosen to marry a Commander but chosen in the first place by Tabitha, who was my mother.\u003c/p>\n\u003cp>That is what Tabitha used to tell me: “I went for a walk in the forest,” she would say, “and then I came to an enchanted castle, and there were a lot of little girls locked inside, and none of them had any mothers, and they were under the spell of the wicked witches. I had a magic ring that unlocked the castle, but I could only rescue one little girl. So I looked at them all very carefully, and then, out of the whole crowd, I chose you!”\u003c/p>\n\u003cp>“What happened to the others?” I would ask. “The other little girls?”\u003c/p>\n\u003cp>“Different mothers rescued them,” she would say.\u003c/p>\n\u003cp>“Did they have magic rings too?”\u003c/p>\n\u003cp>“Of course, my darling. In order to be a mother, you need to have a magic ring.”\u003c/p>\n\u003cp>“Where’s the magic ring?” I would ask. “Where is it now?”\u003c/p>\n\u003cp>“It’s right here on my finger,” she would say, indicating the third finger of her left hand. The heart finger, she said it was. “But my ring had only one wish in it, and I used that one up on you. So now it’s an ordinary, everyday mother ring.”\u003c/p>\n\u003cp>At this point I was allowed to try on the ring, which was gold, with three diamonds in it: a big one, and a smaller one on either side. It did look as if it might have been magic once.\u003c/p>\n\u003cp>“Did you lift me up and carry me?” I would ask. “Out of the forest?” I knew the story off by heart, but I liked to hear it repeated.\u003c/p>\n\u003cp>“No, my dearest, you were already too big for that. If I had carried you I would have coughed, and then the witches would have heard us.” I could see this was true: she did cough quite a lot. “So I took you by the hand, and we crept out of the castle so the witches wouldn’t hear us. We both said Shh, shh”—here she would hold her finger up to her lips, and I would hold my finger up too and say Shh, shh delightedly—”and then we had to run very fast through the forest, to get away from the wicked witches, because one of them had seen us going out the door. We ran, and then we hid in a hollow tree. It was very dangerous!”\u003c/p>\n\u003cp>I did have a hazy memory of running through a forest with someone holding my hand. Had I hidden in a hollow tree? It seemed to me that I had hidden somewhere. So maybe it was true.\u003c/p>\n\u003cp>“And then what happened?” I would ask.\u003c/p>\n\u003cp>“And then I brought you to this beautiful house. Aren’t you happy here? You are so cherished, by all of us! Aren’t we both lucky that I chose you?”\u003c/p>\n\u003cp>I would be nestled close to her, with her arm around me and my head against her thin body, through which I could feel her bumpy ribs. My ear would be pressed to her chest, and I could hear her heart hammering away inside her—faster and faster, it seemed to me, as she waited for me to say something. I knew my answer had power: I could make her smile, or not.\u003c/p>\n\u003cp>What could I say but yes and yes? Yes, I was happy. Yes, I was lucky. Anyway it was true.\u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Transcript of Witness Testimony 369B\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They say I will always have the scar, but I’m almost better; so yes, I think I’m strong enough to do this now. You’ve said that you’d like me to tell you how I got involved in this whole story, so I’ll try; though it’s hard to know where to begin.\u003c/p>\n\u003cp>I’ll start just before my birthday, or what I used to believe was my birthday. Neil and Melanie lied to me about that: they’d done it for the best of reasons and they’d meant really well, but when I first found out about it I was very angry at them. Keeping up my anger was difficult, though, because by that time they were dead. You can be angry at dead people, but you can never have a conversation about what they did; or you can only have one side of it. And I felt guilty as well as angry, because they’d been murdered, and I believed then that their murder was my fault.\u003c/p>\n\u003cp>I was supposed to be turning sixteen. What I was most looking forward to was getting my driver’s licence. I felt too old for a birthday party, though Melanie always got me a cake and ice cream and sang “Daisy, Daisy, give me your answer true,” an old song I’d loved as a child and was now finding embarrassing. I did get the cake, later—chocolate cake, vanilla ice cream, my favourites—but by then I couldn’t eat it. By that time Melanie was no longer there.\u003c/p>\n\u003cp>That birthday was the day I discovered that I was a fraud. Or not a fraud, like a bad magician: a fake, like a fake antique. I was a forgery, done on purpose. I was so young at that moment—just a split second ago, it seems—but I’m not young anymore. How little time it takes to change a face: carve it like wood, harden it. No more of that wide-eyed daydream gazing I used to do. I’ve become sharper, more focused. I’ve become narrowed.\u003c/p>\n\u003cp>Neil and Melanie were my parents; they ran a store called The Clothes Hound. It was basically used clothing: Melanie called it “previously loved” because she said “used” meant “exploited.” The sign outside showed a smiling pink poodle in a fluffy skirt with a pink bow on its head, carrying a shopping bag. Underneath was a slogan in italics and quotation marks: \u003cem>“You’d Never Know!” \u003c/em>That meant the used clothes were so good you’d never know they were used, but that wasn’t true at all because most of the clothes were crappy.\u003c/p>\n\u003cp>Melanie said she’d inherited The Clothes Hound from her grandmother. She also said she knew the sign was old-fashioned, but people were familiar with it and it would be disrespectful to change it now.\u003c/p>\n\u003cp>Our store was on Queen West, in a stretch of blocks that had once all been like that, said Melanie—textiles, buttons and trims, cheap linens, dollar stores. But now it was going upmarket: cafés with fair trade and organic were moving in, big-brand outlets, name boutiques. In response, Melanie hung a sign in the window: \u003cem>Wearable Art\u003c/em>. But inside, the store was crowded with all kinds of clothes you would never call wearable art. There was one corner that was kind of designer, though anything really pricey wouldn’t be in The Clothes Hound in the first place. The rest was just everything. And all sorts of people came and went: young, old, looking for bargains or finds, or just looking. Or selling: even street people would try to get a few dollars for T-shirts they’d picked up at garage sales.\u003c/p>\n\u003cp>Melanie worked on the main floor. She wore bright colours, like orange and hot pink, because she said they created a positive and energetic atmosphere, and anyway she was part gypsy at heart. She was always brisk and smiling, though on the lookout for shoplifting. After closing, she sorted and packed: this for charity, this for rags, this for Wearable Art. While doing the sorting she’d sing tunes from musicals—old ones from long ago. “Oh what a beautiful morning” was one of her favourites, and “When you walk through a storm.” I would get irritated by her singing; I’m sorry about that now.\u003c/p>\n\u003cp>Sometimes she’d get overwhelmed: there was too much fabric, it was like the ocean, waves of cloth coming in and threatening to drown her. Cashmere! Who was going to buy thirty-year-old cashmere? It didn’t improve with age, she would say—not like her.\u003c/p>\n\u003cp>Neil had a beard that was going grey and wasn’t always trimmed, and he didn’t have much hair. He didn’t look like a businessman, but he handled what they called “the money end”: the invoices, the accounting, the taxes. He had his office on the second floor, up a flight of rubber-treaded stairs. He had a computer and a filing cabinet and a safe, but otherwise that room wasn’t much like an office: it was just as crowded and cluttered as the store because Neil liked to collect things. Wind-up music boxes, he had a number of those. Clocks, a lot of different clocks. Old adding machines that worked with a handle. Plastic toys that walked or hopped across the floor, such as bears and frogs and sets of false teeth. A slide projector for the kind of coloured slides that nobody had anymore. Cameras—he liked ancient cameras. Some of them could take better pictures than anything nowadays, he’d say. He had one whole shelf with nothing on it but cameras.\u003c/p>\n\u003cp>One time he left the safe open and I looked inside. Instead of the wads of money I’d been expecting, there was nothing in it but a tiny metal-and-glass thing that I thought must be another toy, like the hopping false teeth. But I couldn’t see where to wind it up, and I was afraid to touch it because it was old.\u003c/p>\n\u003cp>“Can I play with it?” I asked Neil.\u003c/p>\n\u003cp>“Play with what?”\u003c/p>\n\u003cp>“That toy in the safe.”\u003c/p>\n\u003cp>“Not today,” he said, smiling. “Maybe when you’re older.” Then he shut the safe door, and I forgot about the strange little toy until it was time for me to remember it, and to understand what it was.\u003c/p>\n\u003cp>Neil would try to repair the various items, though often he failed because he couldn’t find the parts. Then the things would just sit there, “collecting dust,” said Melanie. Neil hated throwing anything out.\u003c/p>\n\u003cp>On the walls he had some old posters: LOOSE LIPS SINK SHIPS, from a long-ago war; a woman in overalls flexing her biceps to show that women could make bombs—that was from the same olden-days war; and a red-and-black one showing a man and a flag that Neil said was from Russia before it was Russia. Those had belonged to his great-grandfather, who’d lived in Winnipeg. I knew nothing about Winnipeg except that it was cold.\u003c/p>\n\u003cp>I loved The Clothes Hound when I was little: it was like a cave full of treasures. I wasn’t supposed to be in Neil’s office by myself because I might “touch things,” and then I might break them. But I could play with the wind-up toys and the music boxes and the adding machines, under supervision. Not the cameras though, because they were too valuable, said Neil, and anyway there was no film in them, so what would be the point?\u003c/p>\n\u003cp>We didn’t live over the store. Our house was a long distance away, in one of those residential neighbourhoods where there were some old bungalows and also some newer, bigger houses that had been built where the bungalows had been torn down. Our house was not a bungalow—it had a second floor, where the bedrooms were—but it was not a new house either. It was made of yellow brick, and it was very ordinary. There was nothing about it that would make you look at it twice. Thinking back, I’m guessing that was their idea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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