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"content": "\u003cp>What would you get if you combined Jackie Onassis’ poise, Jane Fonda’s comic timing and Audrey Hepburn’s love of wildlife? \u003c/p>\n\u003cp>It’s not a question anyone was asking, but now—thanks, internet!—we know the answer. \u003c/p>\n\u003cp>Georgette Spelvin remains a mystery, since she operates under \u003ca href=\"https://en.wikipedia.org/wiki/George_Spelvin\" target=\"_blank\" rel=\"noopener noreferrer\">a pseudonym\u003c/a>. What we \u003cem>do\u003c/em> know is that this Southern California resident has a multitude of opossums, a handful of squirrels and a killer sense of humor.\u003c/p>\n\u003cp>https://twitter.com/mallafemmina/status/1161126810194763776?s=21&fbclid=IwAR2lEkQMQS3dOL0Zx9G6E1w_A-GA90drWWBnyGQkcGtOCy3S0LoslHC94G0\u003c/p>\n\u003cp>Georgette’s \u003ca href=\"https://www.youtube.com/channel/UCATJh3BJNXTRX4EdxK2oDKw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> has shared these kinds of surreal moments of excellence on a regular basis since 2010. Her inherent watchability is rooted in the hilarious juxtaposition of her glamorous appearance and blue blooded demeanor with the rat-tailed fang-faces most commonly located in people’s trash. Georgette knows how to play up that weird combination with aplomb, thanks in part to her very relaxed means of handling the animals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0nDB_5dxzDM\u003c/p>\n\u003cp>Compounding confusion about her true identity, Georgette’s \u003ca href=\"https://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">associated website\u003c/a> is even more bonkers than her YouTube channel, thanks to the fact that it’s purportedly written by Pearl, one of Georgette’s dead squirrels, who offers psychic advice to members of the public. (“I AM A DEAD SQUIRREL THAT KNOWS EVERYTHING,” screams the \u003ca href=\"http://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">homepage\u003c/a>.) Pearl can also be seen regularly, presented as a sort of religious deity, in the background of Georgette’s videos.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umfxbSJ1Stw\u003c/p>\n\u003cp>On the\u003ca href=\"https://mepearl.com/ask-pearl/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Ask Pearl”\u003c/a> page of Georgette’s site, Pearl fields questions about readers’ biggest issues. On whether or not to leave a cheating lover, Pearl says: “You already know.” When a reader asks if she’s met her soul-mate, Pearl offers: “This one will be your truest love so long as you stop looking for anyone truer.” And when it comes to issues around proper gaming etiquette, Pearl explains: “Did you prance around the room going nanner nanner nanner? That’s usually where those Prussian Incursion games go south.” Occasionally though, readers also try and find out who Georgette really is… to no avail.\u003c/p>\n\u003cfigure id=\"attachment_13864547\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png\" alt='\"Who the hell is Georgette Spelvin?\" ' width=\"638\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM-160x104.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">“Who the hell is Georgette Spelvin?” \u003ccite>(http://mepearl.com/ask-pearl/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, we only know what Georgette Spelvin wants us to know: that she is a very funny lady with a big heart when it comes to injured and in-need wildlife. The lesson she most often imparts in her videos is that “if you see an opossum or squirrel outside, leave it there,” and if you see one that’s injured or in danger, contact your nearest wildlife rescue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never get Georgette’s full life story. But as long as she has a bongo-playing possum by her side and a scurry of squirrels on her shoulder, what more do we \u003cem>really\u003c/em> need to know?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would you get if you combined Jackie Onassis’ poise, Jane Fonda’s comic timing and Audrey Hepburn’s love of wildlife? \u003c/p>\n\u003cp>It’s not a question anyone was asking, but now—thanks, internet!—we know the answer. \u003c/p>\n\u003cp>Georgette Spelvin remains a mystery, since she operates under \u003ca href=\"https://en.wikipedia.org/wiki/George_Spelvin\" target=\"_blank\" rel=\"noopener noreferrer\">a pseudonym\u003c/a>. What we \u003cem>do\u003c/em> know is that this Southern California resident has a multitude of opossums, a handful of squirrels and a killer sense of humor.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Georgette’s \u003ca href=\"https://www.youtube.com/channel/UCATJh3BJNXTRX4EdxK2oDKw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> has shared these kinds of surreal moments of excellence on a regular basis since 2010. Her inherent watchability is rooted in the hilarious juxtaposition of her glamorous appearance and blue blooded demeanor with the rat-tailed fang-faces most commonly located in people’s trash. Georgette knows how to play up that weird combination with aplomb, thanks in part to her very relaxed means of handling the animals.\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/0nDB_5dxzDM'\n title='//www.youtube.com/embed/0nDB_5dxzDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Compounding confusion about her true identity, Georgette’s \u003ca href=\"https://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">associated website\u003c/a> is even more bonkers than her YouTube channel, thanks to the fact that it’s purportedly written by Pearl, one of Georgette’s dead squirrels, who offers psychic advice to members of the public. (“I AM A DEAD SQUIRREL THAT KNOWS EVERYTHING,” screams the \u003ca href=\"http://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">homepage\u003c/a>.) Pearl can also be seen regularly, presented as a sort of religious deity, in the background of Georgette’s videos.\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/umfxbSJ1Stw'\n title='//www.youtube.com/embed/umfxbSJ1Stw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the\u003ca href=\"https://mepearl.com/ask-pearl/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Ask Pearl”\u003c/a> page of Georgette’s site, Pearl fields questions about readers’ biggest issues. On whether or not to leave a cheating lover, Pearl says: “You already know.” When a reader asks if she’s met her soul-mate, Pearl offers: “This one will be your truest love so long as you stop looking for anyone truer.” And when it comes to issues around proper gaming etiquette, Pearl explains: “Did you prance around the room going nanner nanner nanner? That’s usually where those Prussian Incursion games go south.” Occasionally though, readers also try and find out who Georgette really is… to no avail.\u003c/p>\n\u003cfigure id=\"attachment_13864547\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png\" alt='\"Who the hell is Georgette Spelvin?\" ' width=\"638\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM-160x104.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">“Who the hell is Georgette Spelvin?” \u003ccite>(http://mepearl.com/ask-pearl/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, we only know what Georgette Spelvin wants us to know: that she is a very funny lady with a big heart when it comes to injured and in-need wildlife. The lesson she most often imparts in her videos is that “if you see an opossum or squirrel outside, leave it there,” and if you see one that’s injured or in danger, contact your nearest wildlife rescue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never get Georgette’s full life story. But as long as she has a bongo-playing possum by her side and a scurry of squirrels on her shoulder, what more do we \u003cem>really\u003c/em> need to know?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\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=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\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=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few months ago, I watched a chilling film, \u003ca href=\"https://www.youtube.com/watch?v=jmnuC7tn9D4\" target=\"_blank\" rel=\"noopener\">\u003cem>My Friend Dahmer\u003c/em>\u003c/a>, based on a graphic memoir written by a high school friend(ish) of infamous serial killer Jeffrey Dahmer.\u003c/p>\n\u003cp>While IMDB’s logline for the film reads, “A young Jeffrey Dahmer struggles to belong in high school,” I saw it more as an attempt to contextualize Dahmer. It showed his chaotic family life, the masculinity he was expected to perform yet couldn’t, his social ineptness, and the disturbing ways his instincts were and weren’t validated.\u003c/p>\n\u003cp>The film seemed to be asking the unanswerable question: What if? What if he had been able to come out to his family? What if someone had noticed his inability to connect with people and had tried to reach him? What if he was steered toward nurturing his anatomical interests? Could he have been a pathologist? A medical examiner?\u003c/p>\n\u003cp>The other unanswerable question—the one that might be going through many readers’ minds—is: Who cares?! He deliberately preyed on a vulnerable population, mostly young gay men of color. He killed a bunch of people!\u003c/p>\n\u003cp>I was so disturbed by my empathy for him—for how he was portrayed in the film, anyway—that I brought it up to my therapist. Her take? That I might be drawn to his overt cruelty, his capacity for violence, because I am incapable of it myself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a new, necessary and brilliant book, \u003cem>Savage Appetites: Four True Stories of Women, Crime, and Obsession,\u003c/em> journalist Rachel Monroe writes: “Most of the explanations I read for why women are drawn to true crime ended up feeling reductive and unsatisfying.” The explanations she had seen were that the interest was voyeuristic or feminist or self-preserving and practical. “By presuming that women’s dark thoughts were merely pragmatic, those thoughts were drained of their menace,” she adds. “A different, more alarming hypothesis was the one I tended to prefer: perhaps we liked creepy stories because something creepy was in us.”\u003c/p>\n\u003cp>The stories that are well-known, that get rehashed over and over again, are largely about white male perpetrators and white, middle-class, female victims, even though, as Monroe reminds us, “the people who are disproportionately at risk of homicide” are actually “sex workers, the homeless, young men of color, trans women” and, in fact, “the people who [are] most likely to be harmed by violent crime [are] young black men from low-income neighborhoods.”\u003c/p>\n\u003cp>So why do we find true crime fascinating? How are we relating to it? Who is telling what stories and why? Monroe doesn’t have one distinct answer for us—nor, I suspect, does she believe there is one—but she showcases several women, each with a different relationship to the genre. Frances Glessner Lee, considered by some the “mother of forensic science,” is the first; second is Alisa Statman who, whether in good faith or not, inserted herself into the lives and stories of Sharon Tate’s family; third is Lorri Davis, who ended up marrying and helping to free Damien Echols, who spent years on death row after what is widely believed to be his wrongful conviction for the murder of three small boys in West Memphis; and, finally, Lindsay Souvannarath, sentenced to life in prison in Canada after she and another young adult she had met online planned to vaguely emulate the Columbine shooters by wreaking havoc in a mall in Halifax (they never got that far).\u003c/p>\n\u003cp>Monroe treats each individual narrative with nuance, empathy and transparency, allowing both the protagonists and their supporting cast to remain complex. She delves into the social and political ramifications of each narrative, making accessible and visible what so often gets overlooked in these stories because it’s too complicated to put into a headline or summary.\u003c/p>\n\u003cp>Monroe’s book is a pleasure to read because it is smart, well-researched and well-written—beautifully, really, as each of the four long chapters takes the form of a braided essay that links two and sometimes three distinct stories together, showcasing Monroe’s own obsessions alongside those of the real-life characters she explores.\u003c/p>\n\u003cp>But more than that, \u003cem>Savage Appetites \u003c/em>is important because it refuses to sit inside binaries of good vs. evil, victim vs. perpetrator, innocent victim vs. mastermind criminal. It doesn’t give us easy answers for why women are the main consumers of true crime narratives, because there aren’t any because women as a category are not monolith and because it’s complicated and nuanced and different for everyone. The book is important also because I suspect there are more than a few of us who, like Monroe herself, feel conflicted about their desire to consume stories of murder and mayhem and wonder what it reflects about the world around us and ourselves.\u003c/p>\n\u003cp>While Monroe has the role of journalist here, probing the history, motives and psyches of her subjects, she also interrogates herself by weaving her stories into those of others. So it’s not without doing the work herself that she urges us not to turn off our brains in the pursuit of true crime’s anesthetizing effect: “We can use [sensational crime stories] as opportunities to be more honest about our appetites—and curious about them too.”\u003c/p>\n\u003cp>Looking away from a problem doesn’t make it go away, her narratives show us, and looking at the problem directly doesn’t mean easily or quickly solving it. But looking and looking and continuing to look until the layers begin to peel back and reveal the issues at the core of such stories—the systemic inequalities, the co-option of certain stories for political gain, the rhetoric used to make some victims more real than others—that’s the important work that we, and true crime, can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\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=Why+Do+We+Find+True+Crime+Fascinating%3F+%27Savage+Appetites%27+Looks+For+An+Answer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few months ago, I watched a chilling film, \u003ca href=\"https://www.youtube.com/watch?v=jmnuC7tn9D4\" target=\"_blank\" rel=\"noopener\">\u003cem>My Friend Dahmer\u003c/em>\u003c/a>, based on a graphic memoir written by a high school friend(ish) of infamous serial killer Jeffrey Dahmer.\u003c/p>\n\u003cp>While IMDB’s logline for the film reads, “A young Jeffrey Dahmer struggles to belong in high school,” I saw it more as an attempt to contextualize Dahmer. It showed his chaotic family life, the masculinity he was expected to perform yet couldn’t, his social ineptness, and the disturbing ways his instincts were and weren’t validated.\u003c/p>\n\u003cp>The film seemed to be asking the unanswerable question: What if? What if he had been able to come out to his family? What if someone had noticed his inability to connect with people and had tried to reach him? What if he was steered toward nurturing his anatomical interests? Could he have been a pathologist? A medical examiner?\u003c/p>\n\u003cp>The other unanswerable question—the one that might be going through many readers’ minds—is: Who cares?! He deliberately preyed on a vulnerable population, mostly young gay men of color. He killed a bunch of people!\u003c/p>\n\u003cp>I was so disturbed by my empathy for him—for how he was portrayed in the film, anyway—that I brought it up to my therapist. Her take? That I might be drawn to his overt cruelty, his capacity for violence, because I am incapable of it myself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a new, necessary and brilliant book, \u003cem>Savage Appetites: Four True Stories of Women, Crime, and Obsession,\u003c/em> journalist Rachel Monroe writes: “Most of the explanations I read for why women are drawn to true crime ended up feeling reductive and unsatisfying.” The explanations she had seen were that the interest was voyeuristic or feminist or self-preserving and practical. “By presuming that women’s dark thoughts were merely pragmatic, those thoughts were drained of their menace,” she adds. “A different, more alarming hypothesis was the one I tended to prefer: perhaps we liked creepy stories because something creepy was in us.”\u003c/p>\n\u003cp>The stories that are well-known, that get rehashed over and over again, are largely about white male perpetrators and white, middle-class, female victims, even though, as Monroe reminds us, “the people who are disproportionately at risk of homicide” are actually “sex workers, the homeless, young men of color, trans women” and, in fact, “the people who [are] most likely to be harmed by violent crime [are] young black men from low-income neighborhoods.”\u003c/p>\n\u003cp>So why do we find true crime fascinating? How are we relating to it? Who is telling what stories and why? Monroe doesn’t have one distinct answer for us—nor, I suspect, does she believe there is one—but she showcases several women, each with a different relationship to the genre. Frances Glessner Lee, considered by some the “mother of forensic science,” is the first; second is Alisa Statman who, whether in good faith or not, inserted herself into the lives and stories of Sharon Tate’s family; third is Lorri Davis, who ended up marrying and helping to free Damien Echols, who spent years on death row after what is widely believed to be his wrongful conviction for the murder of three small boys in West Memphis; and, finally, Lindsay Souvannarath, sentenced to life in prison in Canada after she and another young adult she had met online planned to vaguely emulate the Columbine shooters by wreaking havoc in a mall in Halifax (they never got that far).\u003c/p>\n\u003cp>Monroe treats each individual narrative with nuance, empathy and transparency, allowing both the protagonists and their supporting cast to remain complex. She delves into the social and political ramifications of each narrative, making accessible and visible what so often gets overlooked in these stories because it’s too complicated to put into a headline or summary.\u003c/p>\n\u003cp>Monroe’s book is a pleasure to read because it is smart, well-researched and well-written—beautifully, really, as each of the four long chapters takes the form of a braided essay that links two and sometimes three distinct stories together, showcasing Monroe’s own obsessions alongside those of the real-life characters she explores.\u003c/p>\n\u003cp>But more than that, \u003cem>Savage Appetites \u003c/em>is important because it refuses to sit inside binaries of good vs. evil, victim vs. perpetrator, innocent victim vs. mastermind criminal. It doesn’t give us easy answers for why women are the main consumers of true crime narratives, because there aren’t any because women as a category are not monolith and because it’s complicated and nuanced and different for everyone. The book is important also because I suspect there are more than a few of us who, like Monroe herself, feel conflicted about their desire to consume stories of murder and mayhem and wonder what it reflects about the world around us and ourselves.\u003c/p>\n\u003cp>While Monroe has the role of journalist here, probing the history, motives and psyches of her subjects, she also interrogates herself by weaving her stories into those of others. So it’s not without doing the work herself that she urges us not to turn off our brains in the pursuit of true crime’s anesthetizing effect: “We can use [sensational crime stories] as opportunities to be more honest about our appetites—and curious about them too.”\u003c/p>\n\u003cp>Looking away from a problem doesn’t make it go away, her narratives show us, and looking at the problem directly doesn’t mean easily or quickly solving it. But looking and looking and continuing to look until the layers begin to peel back and reveal the issues at the core of such stories—the systemic inequalities, the co-option of certain stories for political gain, the rhetoric used to make some victims more real than others—that’s the important work that we, and true crime, can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\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=Why+Do+We+Find+True+Crime+Fascinating%3F+%27Savage+Appetites%27+Looks+For+An+Answer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy Orange’s novel “There There” and Jeffrey C. Stewart’s biography of Harlem Renaissance thinker Alain Locke are among this year’s winners of American Book Awards, given for works that highlight the diversity of the country’s literature.\u003c/p>\n\u003cp>[aside tag='tommy-orange,there-there' label='More Stories You Might Like']\u003c/p>\n\u003cp>The awards were announced Monday by the Before Columbus Foundation, founded in 1976 by author Ishmael Reed.\u003c/p>\n\u003cp>Orange’s debut novel was among the most acclaimed works of 2018. Stewart’s “The New Negro: The Life of Alain Locke” won the Pulitzer Prize.\u003c/p>\n\u003cp>Other winners Monday include Halifu Osumare’s memoir “Dancing in Blackness,” Ángel García’s poetry book “Teeth Never Sleep” and William T. Vollmann’s nonfiction work on climate change, “Carbon Ideologies.”\u003c/p>\n\u003cp>The educator and psychologist Nathan Hare was given a lifetime achievement award. His books include “The Black Anglo-Saxons” and “The Endangered Black Family.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy Orange’s novel “There There” and Jeffrey C. Stewart’s biography of Harlem Renaissance thinker Alain Locke are among this year’s winners of American Book Awards, given for works that highlight the diversity of the country’s literature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The awards were announced Monday by the Before Columbus Foundation, founded in 1976 by author Ishmael Reed.\u003c/p>\n\u003cp>Orange’s debut novel was among the most acclaimed works of 2018. Stewart’s “The New Negro: The Life of Alain Locke” won the Pulitzer Prize.\u003c/p>\n\u003cp>Other winners Monday include Halifu Osumare’s memoir “Dancing in Blackness,” Ángel García’s poetry book “Teeth Never Sleep” and William T. Vollmann’s nonfiction work on climate change, “Carbon Ideologies.”\u003c/p>\n\u003cp>The educator and psychologist Nathan Hare was given a lifetime achievement award. His books include “The Black Anglo-Saxons” and “The Endangered Black Family.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Righteous Gemstones' Takes Aim at Megachurch Millionaires",
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"content": "\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqJRIQO7sqw\u003c/p>\n\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. From a thematic perspective, this show could have been written about televangelists in the 1980s, for instance. It’s focused on the weirdos in this family, not what the faith that happens to be their grift of choice has to do with anybody else.\u003c/p>\n\u003cp>With that tight focus on these characters comes a need to differentiate them from similar characters we’ve seen before. That’s the show’s most significant flaw. In comedy terms, it’s fine for everyone to be unsympathetic, but it’s more of a problem that they’re unsympathetic in such expected ways. John Goodman is an actor who can do a lot with a little, but this performance seems like a routine version of what you’d expect “greedy televangelist” to look like. Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\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=%27The+Righteous+Gemstones%27+Takes+Aim+At+Megachurch+Millionaires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\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/KqJRIQO7sqw'\n title='//www.youtube.com/embed/KqJRIQO7sqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. From a thematic perspective, this show could have been written about televangelists in the 1980s, for instance. It’s focused on the weirdos in this family, not what the faith that happens to be their grift of choice has to do with anybody else.\u003c/p>\n\u003cp>With that tight focus on these characters comes a need to differentiate them from similar characters we’ve seen before. That’s the show’s most significant flaw. In comedy terms, it’s fine for everyone to be unsympathetic, but it’s more of a problem that they’re unsympathetic in such expected ways. John Goodman is an actor who can do a lot with a little, but this performance seems like a routine version of what you’d expect “greedy televangelist” to look like. Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\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=%27The+Righteous+Gemstones%27+Takes+Aim+At+Megachurch+Millionaires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'",
"headTitle": "Watch the Untold Story of Bay Area Thrash Metal in ‘Murder in the Front Row’ | KQED",
"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[aside postID='arts_13807771,pop_98652' label='More on the Fondas']\u003c/p>\n\u003cp>Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday morning at his home in Los Angeles. He was 79.\u003c/p>\n\u003cp>The official cause of death was respiratory failure due to lung cancer.\u003c/p>\n\u003cp>Born into Hollywood royalty as Henry Fonda’s only son, Peter Fonda carved his own path with his non-conformist tendencies and earned an Oscar nomination for co-writing “Easy Rider.” He never won an Oscar but would later be nominated for best actor in “Ulee’s Gold.”\u003c/p>\n\u003cdiv class=\"Article\">\n\u003cp>The family says this is one of the saddest moments of their lives and asks for privacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>[aside postID='arts_13862433,arts_13854359,arts_13859988' label='Read More on Lil Nas X']\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>[aside tag='hip-hop' label='Music Coverage You Might Like']\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss)",
"headTitle": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss) | KQED",
"content": "\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_37YRkp4hIQ\u003c/p>\n\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E5uAH0vNn2s\u003c/p>\n\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xfPoLEJpgY\u003c/p>\n\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cj2k3QsHmyM\u003c/p>\n\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\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=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "What happens when an artist you count on to be one way suddenly isn't? For writer Hanif Abdurraquib, appreciating the left-turn album 'The Center Won't Hold' has meant letting go of years of nostalgia.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\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/_37YRkp4hIQ'\n title='//www.youtube.com/embed/_37YRkp4hIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\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/E5uAH0vNn2s'\n title='//www.youtube.com/embed/E5uAH0vNn2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with 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/_xfPoLEJpgY'\n title='//www.youtube.com/embed/_xfPoLEJpgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\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/Cj2k3QsHmyM'\n title='//www.youtube.com/embed/Cj2k3QsHmyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\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=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o47CwiJLpes\u003c/p>\n\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hhcoUnzMZw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon 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=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o47CwiJLpes'\n title='//www.youtube.com/embed/o47CwiJLpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2hhcoUnzMZw'\n title='//www.youtube.com/embed/2hhcoUnzMZw'\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 ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon 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=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits",
"headTitle": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits | KQED",
"content": "\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcBNxuKZyN4\u003c/p>\n\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\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/ZcBNxuKZyN4'\n title='//www.youtube.com/embed/ZcBNxuKZyN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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