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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot",
"headTitle": "Why We Need Jane Lynch and Cyndi Lauper’s ‘Golden Girls’ Reboot | KQED",
"content": "\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x97DorT1Fcs\u003c/p>\n\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\n\u003cp>https://twitter.com/JeremywithaZ/status/1173947100087930880\u003c/p>\n\u003cp>https://twitter.com/Road2Oscars/status/1173414374247002112\u003c/p>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJS54oxSebs\u003c/p>\n\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\n\u003cp>https://www.instagram.com/p/B2UN1fvA4yV/\u003c/p>\n\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\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/x97DorT1Fcs'\n title='//www.youtube.com/embed/x97DorT1Fcs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\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/jJS54oxSebs'\n title='//www.youtube.com/embed/jJS54oxSebs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "From ‘Walk This Way’ to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/4B_UYYPb-Gk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. [aside postid='arts_13866441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/kdQN-B8aodw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/yNPECkESPbU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. [aside postid='arts_13854359']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/91QQqfr1qzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\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/4B_UYYPb-Gk'\n title='//www.youtube.com/embed/4B_UYYPb-Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\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/kdQN-B8aodw'\n title='//www.youtube.com/embed/kdQN-B8aodw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\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/yNPECkESPbU'\n title='//www.youtube.com/embed/yNPECkESPbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. \u003c/p>\u003c/div>",
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"content": "\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QTIkUzkbzQk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers 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=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The actress was last seen starring in the high school comedy 'Booksmart'. But her newest character, on a new Netflix series, is a woman who recants being raped. It's based on a true story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\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/QTIkUzkbzQk'\n title='//www.youtube.com/embed/QTIkUzkbzQk'\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 how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\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/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers 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=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Good, the Bad and the Godawful: Paul Scheer Takes on the Movies (in Podcast Form)",
"headTitle": "The Good, the Bad and the Godawful: Paul Scheer Takes on the Movies (in Podcast Form) | KQED",
"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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"excerpt": "On 'How Did This Get Made' and 'Unspooled,' Paul Scheer dissects moves from both ends of the critical spectrum.",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Remembering Influential Documentary Photographer Robert Frank",
"headTitle": "Remembering Influential Documentary Photographer Robert Frank | KQED",
"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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"excerpt": "In \u003cem>The Americans\u003c/em>, a book of photos taken while road-tripping across the country in the 1950s, his portrait of the United States was dark, grainy and free from nostalgia. He died on Monday night.",
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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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"title": "The Bullying of Meghan Markle Continues a Long Tradition for Royal Wives",
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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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"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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"title": "This High School's 'Avengers'-Themed Pep Rally Will Boost Your School Spirit",
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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'",
"headTitle": "Why Fashion Expert Tan France Nearly Turned Down ‘Queer Eye’ | KQED",
"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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"excerpt": "\"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,\" France says of his role on the Netflix makeover series. ",
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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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"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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"soldout": {
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